I1ERAMIC STUDIO 
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TREATMENT FOR SCOTCH ROSES-(Page 107) 
Henrietta Barclay Paist 
[ ODEL the flowers for the first fire with White Rose except 
for the most delicate parts, for which use Copenhagen 
Blue. For the second, glaze with Alberts Yellow. Strengthen 
with Orange and even Yellow Brown for the darkest parts. 
For the foliage model with Brown Green and Dark Green, 
glazing with Moss Green. For shading foliage use Copen- 
hagen Blue adding a little Pink for warmth. Glaze deli- 
cately with Yellow or Pale Green, nearest the dark foliage and 
bring together to make harmony. If this is used on a tray a 
background of Russian Green, Albert Yellow, Yellow Brown, 
Pompadour Red and White Rose can be blended, beginning 
with Russian Green at the top, running into the Yellow a 
dash of Pompadour and Yellow Brown and finish with White 
Rose near the design on the shadow side. If used for a vase 
a darker background can be used by a harmonious blending of 
Albert Yellow, White Rose, Yellow Brown and Brown Green 
and even a touch of Sepia or Chocolate Brown for the darkest. 
Depth can only be gotten by repeated firings. 
TREATMENT FOR BLACKBERRIES AND WILD 
ROSES— (Supplement) 
Jeanne M. Stezvart 
FOR first fire lay in the berries very simply in a tone 
made of Banding Blue, Brunswick Black and Ruby Pur- 
ple, pay special heed to light and shade, wiping out the high 
lights carefully. 
The wild roses should be painted in Rose with Lemon 
Yellow in centers. Throw in a light background around white 
blossoms, wiping out white petals. 
Apply background in second fire, using Rose, Banding 
Blue and Yellow Green for the light gray, and Ruby Purple, 
Banding Blue and Shading Green for the dark. A little Ivory 
Yellow added to these tones will improve the glaze. 
The success of this design depends upon the strength 
and character of the berries, yet softly blended into one har- 
monious whole. 
Three fires are necessary to the proper finish, as the 
shadows are added for the last fire. 
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M. A. O. — To float enamel over a large surface it is necessary to mix 
the euamel quite thin, a very little thicker than ordinary paint, then fill 
your brush full, using a large square shader, it is not necessary to have the 
color perfectly even, in fact it is considered more artistic to have a slight 
variation in tone. Some use turpentine for a medium, others use laven- 
der. The advantage of turpentine is that it does not spread over lines 
and dries more rapidly. Aufsetzweis alone with I flux or a mixture of f 
Hancock's Hard White Enamel with ; 1 Aufsetzweis and J flux can he used 
adding ]- color. 
A. B. C— For enamel in high relief, use two-thirds Aufsetzweis and 
one-third best English Enamel. If the enamel is in powder form, use 
enough Dresden Thick Oil to go all through it without making a paste of 
it, and thin with Lavender Oil. Enamel will chip off if there is too much 
oil in it, or if it is fired too hard. If the enamel is thin at the edges (when 
the intention is to have it raised) it is very likly to chip. The gold colors 
are the carmines and rubies, the iron colors are red browns, browns and 
carnations. 
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