2 4 8 KERAMIC STUDIO 
TREATMENT OF RUSSIAN PLATE 
(SUPPLEMENT) K. E. Cherry 
DIVIDE the plate into ten parts ; make a tracing of the two 
designs and transfer them on to the plate, then use 
Brunswick black thinned with lavender oil (so when using it 
thin it will make a soft gray line) and go over the design care- 
fully, then fire so not to lose design. Then dust the edge 
with matt Turkish blue. Next do the paste and use gold for 
background. The gold design is outlined in black in order 
to throw out the design. 
LUSTRE 
IRIDESCENT ROSE 
Iridescent Rose padded makes a pink and blue changeable 
color, painted on in two coats, it is a deep green blue with a 
rose lustre. Be careful to avoid dust or dampness with this 
color as it spots easily. It looks well with orange, or green 
over it. 
BLACK 
Black has always a gold sheen, and is useful anywhere 
that black is needed in a design, it is also effective in combi- 
nation with raised gold and jewels. 
BERRY PLATE IN GOOSEBERRIES— JEANNE M. STEWART 
PALETTE for berries— Yellow, Blue and Olive Greens, Yel- The first painting should be simple washes representing 
low Brown and Pompadour. Palette for leaves— Blue light and shade, leaving detail for second fire. 
Green, Grey for flowers, Yellow Brown, Chestnut Brown, Add shadow leaves and berries around prominent portion 
Pompadour, Olive, Brown and Shading Greens. Apply thin of design in the warm grey tones, while the upper trailing 
washes of color on berries, aiming for clearness and transpar- sprays should be kept in cooler grey greens. The woody 
ency, taking out high lights with fine pointed shader. Leaves stems may be painted in yellow green with chestnut brown 
should be painted in green with exception of one most prom- for shadows and thorns. 
inent, to which the yellow and red brown tones may be added Shade background from delicate blue greens to brown 
to represent the withered and dried edges. green with chestnut brown and pompadour in darkest tones. 
