RERAMIC STUDIO 
49 
with the additional use of white, and stronger lights and 
shadows. The first wash is perfectly clear color with no 
white, all the first color is very clear and very brilliant ; no 
white is used until the color is painted all over the study. 
Pink where there is pink, yellow where the color is yellow, 
green where it is green, and so on. The background is left 
for the last. 
The two large chrysanthemums in the centre are white, 
the surrounding ones are white, yellow and pink, the one be- 
low is in a yellowish red of the very ragged variety. 
The white ones are of a yellowish tone ; for the shadows 
use Payne's Grey and Indian Yellow, for the halftones Lemon 
Yellow and Payne's Grey, and for the high lights a thin wash 
of lemon, then the white, in very few instances is it possible 
to use pure white, it is better to mix it with yellow or some 
green is often a good color to mix with white if a cold color is 
desired ; in the half tones Lemon Yellow, White and a little 
Payne's Grey, in the shadows a very thin wash of White and 
the same colors are used in the half tones. For the yellow 
flowers the same colors are used with the Brown Pink, 
in the shadows Indian Yellow, Lemon Yellow, and White, and 
in order to secure a very brilliant yellow a wash of Chrome 
Yellow is often useful. The pink is done in the same manner, 
the shadows are of Vandyke Brown and Carmine, the half 
tones of the same with a little Safflome, this color is to be 
used with discretion, as it is next to impossible to wash it out 
when it is on the paper. The bright lights of the same with 
a little Vermillion, and the same colors, omitting the brown and 
adding white, for the high lights. 
The greens are made by using Prussian Blue, Indian Yel- 
low and Payne's Grey in the shadows; as to the half tones the 
same color is used and Emerald and Hooker's Green and 
White for the high lights. The background is left until the 
last, and is always of thin color, never any white. Prussian 
Blue, thin, is the first color, the color to be put on with a 
small brush and the tone to be varied as the color of the 
flowers requires. 
I have found that a small brush in the backgrounds is a 
great help as the color must be changed often, and with a 
small brush one can more easily go from green to red than 
with a large brush. Then a picture is always hung, so in most 
cases it is better to paint it on an easel than in one's lap or 
lying flat on a table, when one has to move one's head every 
time one looks at the study. Then the water in one's brush, 
if working on an easel instead of running down on the paper, 
runs back on the brush and does not cause a blot. Of course 
all the minor details do not signify much when one has mast- 
ered the handling of the color, but when one is working for a 
result of which one is not certain, how much it simplifies 
matters to know the easiest way trying for the result. 
TREATMENT FOR COFFEE SET (Supplement) 
E. Mason 
THE scheme of this set is very simple, gold and two 
colors of lustre being all the materials used. It must be 
remembered that a great part of its attractiveness will lie in 
the carefulness of the execution. Take pains to have the 
drawing accurate, the color outline firm and the lustres care- 
fully and neatly laid. 
For the first firing, the whole of the design is to be drawn 
in black color outline. After this is thoroughly dry apply a 
coat of Matt Gold in all the portions indicated. 
For the second fire go over the gold again, and apply the 
lustres, using Black Lustre for the background and Orange 
for the leaves, stems and flowers. 
For the third firing the Black and Orange Lustre is all 
applied again, as it is only by repeated applications that the 
required depth and evenness is gained. In this firing also the 
Black outline is put over the gold on the handle, border and 
base. 
If, perchance, the lustres should not be dark enough after 
two firings of them, still another wash may be applied and fired 
again without injury to the piece. 
CANDLESTICK— ADELAIDE A. ROBINEAU 
