140 
liERAMIC STUDIO 
ing first a square or rectangle and then a circle in pleasing pro- 
portions, with lines at first and then some form, the eye will 
soon become trained and it will be a great delight to study 
and understand the designs of master decorators, just as musi- 
cians understand and appreciate classical music. 
After the design is drawn in pencil upon the china then 
comes the important question of color. There must be a 
pleasing balancing of the dark and light spots of the design. 
One color should not " come out from the object " so to speak, 
or form unpleasant silhouettes with the background. This is 
not always noticed when the object is close at hand, but if 
held off or held before a mirror, the defects may be plainly 
seen. 
Try the simple things first, then after a while the other 
designs will all appear clear and easy to follow. But what- 
ever is attempted have it good of its kind. 
FORGET-ME-NOTS— ALICE B. SHARRARD 
WASH in the lightest blossoms with Deep Blue Green or 
Night Green, keeping the tone very delicate, the 
highest lights almost white, using the same blue for shading. 
For the shadowy blossoms add a bit of Carmine to the blue, 
enough to give warmth to the local tone, adding more Car- 
mine for those in deeper shadow, subduing all in keeping with 
the soft color of the blossoms in high light. The centers are 
painted with Jonquil Yellow with a touch of Deep Red Brown 
and Violet of Iron. The buds have a purplish hue, made by 
a light wash of Carmine. Paint the leaves and stems a soft 
yellow green, made by mixing Yellow, shaded with Brown 
Green and Green No. 7, in darkest parts. Put in the back- 
ground with Carnation and Ivory Yellow, blending into Copen. 
hagen Grey and Dark Green No. 7, in darker portions. 
Strengthen the whole in second firing, keeping the colors soft 
and delicate as the study suggests. 
