I1ERAMIC STUDIO 
229 
TREATMENT FOR BOWL 
Russell Goodwin 
THE original color scheme for this design was pinkish violet 
and grey green on a pale grey green ground with out- 
lines of black. The design, however, could be well rendered 
in other ways. The flowers in deep purplish blue with black 
sterns and leaves on a celadon or rich brown ground, in white 
and grey green on a violet grey, in yellow brown and Meissen 
brown on pale ochre with gold, or in various colored golds on 
tinted or dusted grounds. 
TREATMENT OF SUPPLEMENT 
Anna B. Leonard 
THIS design may be used in various ways and on various 
forms. But it seems particularly well adapted to the 
plate and bowl given, and is very simple and quaint in effect. 
The design is first drawn on the china and outlined in black 
with a little Pompadour Red (German) in it to give a warmer 
outline, as the plain black line is too cold in effect. The roses 
must be that old fashioned magenta that we see on our 
grandmother's old china, and to obtain this shade use one-half 
Ruby Purple (German) and one-half Rose Pompadour (La- 
croix). It is painted on in rather flat washes, just enough 
unevenness to give the proper vibration of tone. 
If it should come out too vivid in color, go over it with 
the same, using a very little black in the color to modify it — 
but this second wash must be quite thin. The whole design 
may be done for one fire. 
For the leaves and bands, use Apple Green (Lacroix) with 
a little Mixing Yellow (Lacroix). Add to this Chrome Green 
3 B (Lacroix), Brown Green (Lacroix) and a very little Black. 
This should make a delightful cool neutral green, a particular 
tone that is very pleasing in combination with the magenta 
roses. 
To this mixture add one-eighth Aufsetzweis and a little 
flux. Now this must be floated in the design quite carefully. 
Unless one has had some experience with the flat enamel 
washes , it is better to put a very thin wash of the enamel on 
twice — finishing the design for two fires instead of one. 
The entire design may be done in blue and green enamel, 
which is always pleasing and useful. For a blue and green treat- 
ment, use the same tones of green, with a little more of the 
Mixing Yellow. For the blue roses, use Dark Blue (Lacroix) 
and a little touch of Brunswick Black (German), then add to 
this one-eighth of the Aufsetzweis and a little flux. This is 
floated into the design very carefully. It will be better to 
finish it in two fires, unless experienced in using the blue. 
The tone of blue should be a grey blue. 
The La Croix color Delft Blue makes a good tone by 
itself, if one is afraid to try the other — (I prefer the mixture.) 
If one is decorating an object different from the forms 
given, much care should be taken in getting the bands in the 
right proportion with the entire form of the object, otherwise 
the design and object both will be spoiled. In drawing the 
roses a stenciled effect is used, which gives a naturalistic draw- 
ing a conventional treatment. Be careful that the little paths 
of light are even, that is, use care and thought in the spaces, 
letting the lines run parallel. This may seem trivial, but it is 
of the utmost importance, as one can soon see by holding 
the design off and looking at it critically. 
A tall flower, vase looks well with the design in a band 
running around the top, the lower part left white or tinted 
Pale Green (or Light Green Lustre). The plates are marked 
on the bottom T. and V. and can be ordered through our ad- 
vertisers. The original plates were bought from M. T. 
Wynne, New York. 
A yellow and green treatment looks well for this design. 
An orange bowl would be attractive done in this manner. 
The design may be carried out in flat gold outlined in 
black or red, on a white and cream ground, or it may be used 
for a lustre treatment. 
DESIGN FOR BONBONNIERE 
Alice B. S harvard 
THE greater portion of the background is a rich dark blue; 
center within design is gold; large figures of the design, 
Apple Green, outlined with black, leaving the small interlaced 
heart pattern in pink enamel; rosettes also of pink enamel; 
filling in the space about the edge of the pink border with 
gold. For lower part of box use dark blue background, alter- 
nating the figures, pink and green ; rosettes, pink enamel ; 
edge gold. Or the box may be entirely of gold, with design 
worked up in pink or blue enamel. 
