ttERAMIC STUDIO 
59 
TREATMENT FOR VIOLETS 
M. Helen E. Mont fori 
FIRST wash, leaves Apple and Moss Green. Flowers — Over 
half of lower petal a thin wash of Mixing Yellow, a tri- 
angle of Albert's Yellow and at upper right hand side a dot of 
Yellow Red. Finish petal and lay in other petals of flower 
with a thin wash of Violet and Deep Blue Green. Vary these 
as much as possible, making some flowers with more blue, 
others more violet. Parts of Violets underneath bunch, Vio- 
let, with a very little Violet of Iron and Deep Blue Green. 
Outline triangle and put the lines on lower petal with this 
color. Background — Under upper side of bunch Albert's 
Yellow and Moss Green. Lower corner Pansy Purple, Dark 
Brown and Shading Brown, shade off to Violet Copenhagen 
and Lavender Glaze. Finish leaves Olive and Brown Green, 
accent with Shading Green and Dark Green. 
Violets — Shade with the Violet and Deep Blue Green. 
Retint where necessary. 
THE Our subscribers will be pleased with the 
new catalogue issued by E. M. Gubsch & Co. 
F 
SHOPS 
Miss Gubsch is about to sail for Europe on 
her annual tour. 
JN THE 
STUDIOS 
Mrs. Rhoda Holmes Nicholls will teach 
during the summer months at that picturesque 
old place, Provincetown, Cape Cod. 
DAFFODIL STUDY— Sara Wood Safford 
Treatment by Miss M. M. Mason 
IT is generally conceded that it is best to use a flower as a 
suggestion for a color scheme and in that way to keep the 
motif of decoration subordinate to the shape of the articles to 
which it is applied. As for example, a vase may represent a 
harmony in yellows and greens or yellows and greys, or greys 
and blues, etc., instead of a painting of daffodils or one of iris, 
etc. In our endeavor to paint more simply and in a less 
naturalistic manner, this has been our recourse and from an 
artistic point of view, this method seems rather more satisfy- 
ing than former ones. 
The daffodil suggests any number of different color 
schemes, but possibly the most effective ones would be either 
in greys shading to dark greens or in warm yellows shad- 
ing to blackish greens. For the latter scheme, I would suggest 
painting the background first in Neutral Yellow, shading into 
Yellow Brown and then to Dark Green to which has been 
added a little Black. The flowers should be painted in while 
the background is moist, using Lemon or Albert and Egg- 
Yellows, modeling with Yellow Brown, Brown Green and with 
the color of the background which surrounds them. Be care- 
ful to leave plenty of high lights on the flowers, rather exag- 
gerate them than otherwise, as it is so difficult in this medium 
to reclaim a light once lost and so easy, if too bright, to tone 
it down in a succeeding fire. 
For the leaves use Yellow Green and Dark Green, possi- 
bly a little Brown Green, keeping some of them quite dark, 
almost shading to Black. Retouch with the same colors in 
successive firings until the desired depth of color is obtained. 
It is usually best to dust the piece after the first painting, for 
the purpose of strengthening and softening, but it may be 
repeated after other paintings also if deemed advisable. 
Keep the brightest flower of the cluster fresh and crisp, 
softening the less prominent ones into the background with 
either brush or pad. 
