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HLERAMIC STUDIO 
*S 
ROSES 
Nearly everybody knows and loves a rose — that is 
probably why we all like to paint them. And even 
though our sketch is not always quite happy or successful, 
our attempt means something to almost everyone 
privileged to look at it. It certainly gives more 
pleasure than an equally good sketch of a rarer or a less 
known flower. But learn to know your rose well. 
Paint the particular rose that appeals to you, the 
soft creamy white one or the deep hearted red one. 
Draw it in all positions — paint it in different lights — cover 
dozens of sheets with notes and facts of leaf and bud and 
flower, then when this is done, if it has been done honestly, 
the rose is yours, it is in your mind and in your heart, 
in your fingers, the drawings may be turned face down, 
and the composition made from your memory of the rose 
will have a charm and freedom not to be had in the direct 
copy of your own or another's study drawing. 
The roses in the first sketch enclosed within these 
covers, may be treated as white and soft yellow, or as 
white and pink ones. A white rose is such a delicate 
filmy thing with its soft shadows and tender warm heart. 
But it will have in its shadows and in its heart something 
of the tones of the flowers and foliage around it. If massed 
with yellow ones, its petals will take a warmer note. If 
with pink ones, then a light blush will seem to have caught 
it here and there. The eye carries color from flower to 
flower, from leaf to leaf, from leaf to flower and back again. 
TECHNICAL INSTRUCTIONS 
For soft shadows in white roses use Vance Phillips' 
Violet and Yellow with Pearl Grey added to deepen and 
cool the tones. In the very light and most delicate shadows 
Yellow and Pearl Grey without Violet may be used. If 
the heart of the rose is well open, keep it rich and sunny 
with Yellow and Yellow Brown. If partly closed it may 
be deepened with Brown Green added to the Yellow 
Brown. 
Use the same colors for shadows in petals of pink 
roses. But in the deep heart of the yet delicate pink rose, 
use Vance Phillips' Special Rose, a color for deep notes 
and first, hard fires. Glaze the lighter parts with Rose 
and Yellow and save the high lights with thin washes of 
Yellow. The mixing of Yellow with Rose in the first 
painting of all pink flowers will greatly refine the color 
and help to protect the rose from turning purple under 
fire. If deep pink roses are desired.then add Ruby to 
Special Rose in the heart, and tone the whole flower lower, 
deepen shadows in petals, use a deeper Rose in lighter parts! 
In the first painting, gray the leaves with Vance 
Phillips' Violet, Violet mixes well with all colors, graying 
without chilling the tone. A very little pure green will 
carry a long way, and do not fear to lay in the foliage 
in rather flat low tones. The lightest leaves, however, 
may be kept quite a clear green through the first fire until 
the worker knows from experience just how gray they 
may be painted and yet be green. 
If possible, cut out the stems from against the foliage 
and leave clear until the second painting; then glaze with 
a thin wash of pure light Green. Either Blood Red or 
Carnation may be used with the greens, particularly with 
Brown Green, for a warm tawny foliage mass, and tender 
young leaves and stems can be suggested with Carnation 
and Violet. 
SECOND PAINTING 
Glaze the flower with Yellow over its heart, and 
across the tips of petals into the background. Glaze 
leaves with washes of Yellow Green in the light and Dark 
or Brown Green in the shadow. Carry Dark Green, which 
is in itself a deep gray green, into the background. Very 
little Violet, if any, is needed in the second painting which 
is for the purpose of softening or "pulling together" 
flowers, foliage and background. 
THIRD PAINTING. 
The detail drawing and accents should be added for 
this fire. The sharp thorn to the stem, the point to the 
leaf, the decided curl to the petal. 
FOURTH PAINTING 
Work for quiet subtle harmonies. Wash Pearl Grey 
with Violet over the entire surface, but softly blending 
over the edge of the petals and barely brushing the warm 
lights one may wish to save. 
The above directions may be followed in the painting 
of pink roses — with the exception of special care in the 
use of Rose, deep hearts of flowers being painted with 
Vance Phillips' Special Rose. 
PALETTE FOR ROSES 
Vance Phillips' Albert Yellow, Violet, Pearl Grey, 
Yellow Brown, Blue Green, Brown Green, Apple Green, 
Yellow Green, Shading Green, Dark Green, Black, Blood 
Red or Carnation, Rose, Special Rose. 
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