268 
RERAMIC STUDIO 
PLATE DESIGN— ANNA B. LEONARD 
THIS design is given in two ways, one in which the motif is 
in flat washes and the other where the motif is carried 
out in minute detail. 
This is a suggestion which may be followed in other 
designs given in the KERAMIC STUDIO ; for after all it is the 
spots of color and spaces that we want, whether they are filled 
with a single wash or carried out in detail. 
To use this design in detail, the bands are in turquoise 
blue edged with a line of flat gold or raised gold heading. The 
turquoise blue is obtained by using two-thirds Night Green 
and one-third Deep Blue Green with Flux added to give a 
glaze, as this mixture requires a hard fire to give it a sufficient 
transparency. 
In the first fire, the roses may be indicated very delicately 
indeed, just enough color to keep the general shape, for if a 
deep tone of pink (Carmine No. 3, La Croix) is used a purple 
tone will be the result in first hard firing, which is necessary 
for the blue, therefore it is imperative to exercise care in the 
pinks until the last fire. 
As a mark of contrast and variety in the garlands, use 
here and there some little dark red roses, made by using a 
mixture of Ruby Purple (German) and Rose Pompadour (La 
Croix), one being a gold color and the other an iron color. The 
scrolls where a jeweled effect is desired may be in flat gold or 
the outlines in raised gold filled with enamel dots — the latter 
being perhaps preferable. 
To mix the paste for raised gold use just enough Dres- 
den Thick Oil to make the paste darker, but not enough to 
