126 
RERAMIC STUDIO 
the part which they know to be at the other side, as if the 
box were transparent. 
When a pupil has learned how to make an outline of what 
he sees, and by that I do not mean an exact portrait, he has 
the essential part of drawing, and any one can learn to 
draw if properly taught, as every one can learn to write. 
To be sure all may not be first-class draughtsmen, as all who 
write do not write a good hand. All students wish to ac- 
quire knowledge with as little effort as possible, and the 
teacher must understand how to make a fact clear. A 
simple fact simply told means much to a student. The 
teacher who does not know just what he is trying to do and 
why, is a most discouraging person, for when a pupil loses 
faith in his teacher's ability, both might as well stop, for it 
is a waste of time. 
As a study for showing simple lines and one for the pur- 
pose of explaining how a pupil should go to work, I think 
the black and white study of Zinnias in the last issue of 
Keramic Studio one of the best I have seen. For a begin- 
ner I would suggest a charcoal study, leaving the back- 
ground white, as it would be more confusing to lay in a flat 
tone and work into that, the study. 
Make a direct line for the top of the mass of flowers, from 
left to right as it faces you, then down and across from right 
to left to the starting point. Then a square outline for the 
flower just below the massed outline and see that it comes 
just under the second flower in the body of the study, the 
under line being on a level with the center of the fifth 
flower. Next place the centers and square the petals in the 
outlined mass. Place a line for the top of the mass of 
leaves; this line will be almost at right angles with the top 
line in the flowers. Be always careful to keep the right 
proportion of the leaves as compared with the flowers. The 
mid-rib of the center leaf is directly below the middle of the 
fourth flower. This mid-rib is almost a perpendicular line. 
The length of the leaf is about the same as that of the flower 
above it, and by comparison find the length and width of 
each leaf and the position of them, and find that each line 
goes in its place as easily as if it were traced already to be 
worked over. This done, place the flower on the left, not 
in the main body, then the three at the right ; the stems next, 
as it is always well to leave the stems for the last, a line to 
indicate where they are to go may be used, but I have 
found it better to leave them out entirely, placing the calyx 
when outlining the flowers. 
The study is now ready for criticism. Go over each 
flower and leaf carefully, see that it is in the proper place 
and proportion. One can in this way correct any defects 
there may be in the drawing. The construction being 
right make careful outline of the outside petals and place a 
flat tone over the flowers, leaves and stems, then place the 
darkest shadows in the flowers and see why they are caused. 
Then the darkest shadows for the leaves and stems, and I 
have found that a careful drawing of the petals always helps 
in any flower study, even if it is to be painted, as it gives a 
good idea of how to proceed and an acquaintance with the 
flower that is invaluable. By using a sharp eraser the cen- 
ters may be pushed out and the darker lines be placed to 
bring out the white in the centers. 
TREATMENT FOR ROSES 
U 
Blanche Van Court Schneider. 
SE Rosa for first firing of all roses. 
Leaves, Yellow Green, Moss and Olive Green. 
Stems, Yellow Green. 
Tint for second firing, using Ivory at the top of piece, 
a little Turquoise Green dashed above the bunch of roses. 
Under bunch, Yellow Brown shaded into Olive for the dark 
part under the leaves. Bower part of piece, Ivory. 
Strengthen roses with American Beauty, stems and 
leaves with Olive Green. 
For third firing strengthen background with same 
colors as used in second firing, retouch darkest rose with 
Ruby. A little Dark Brown in stems. 
PEARS 
Sarah Reid McLaughlin. 
PLAINT the design in mellow tones; let yellow predonr 
* inate. For pears, use Lemon Yellow, Alberts Yellow, 
Yellow Green, Yellow Brown. Shadow pear with leaves 
surrounded in Grey Greens. Second firing, strengthen above 
colors. A dash of Yellow Red on main pear will give a 
good effect. Use Sepia where it is needed. Pips and 
stems, Yellow Brown, strengthened in second firing with 
Auburn Brown. Greens as usual, using Yellow Greens, 
some Yellow Browns. Background, Fgg Yellow near 
the center, Alberts Yellow, Yellow Green, Yellow Brown 
and Olive Green in the dark parts. Keep the tones in 
the pears well blended. 
RED RAMBLER ROSE 
Hattie V. Young Palmer. 
pvRAW lightly prominent roses, leaves and stems. 
U Wash in background with quite moist color and large 
quill brush. Commencing at top, use Ashes of Roses 
softening into Lavender Glaze, and down into Lavender 
Glaze and Violet (mixed) under shadow side of roses and 
leaves, then into Russian Green and Ashes of Roses to the 
base of study. 
Paint leaves with Purple Black and dark roses with 
Ruby and Purple Black (mixed). Paint light roses very 
delicately with Rose and Ashes of Roses (mixed). 
Intensify with dry color, using Albert Yellow over 
background at top and shadow parts with same colors 
used in painting. Powder light roses with Rose and dark 
roses with Ruby, allowing the color to soften out into 
background, leaves with Verdigris. 
For second fire, darken center of light roses with Rose 
and Ashes of Roses, wash leaves in dark part with Dark 
Yellow, other leaves in Verdigris and darkest leaves in 
Dark Yellow. Accent dark roses with Ruby and Purple 
Black, and stems with Purple Black and just a touch of 
Ruby. Wash background under roses and down to base 
of study with Albert Yellow, softening into Lavender 
Glaze. 
** r 
STUDIO NOTES 
Keramic enthusiasts of San Francisco are flocking back 
to their studios. 
The California Keramic and Kraft Shop announces its 
opening at 1146-48 Geary street, near Van Ness Avenue. 
Classes in china, water color, oil painting and leather craft 
by Helen A. O'Malley and Minnie C. Taylor. 
Mrs. Blanche McCalvy, formerly of 460 Turk strees, an- 
nounces the opening of her studio at 804 McAllister street. 
Mrs. G. Dorn has returned from temporary quarters in 
Los Angeles, and reports a new and busy studio at 761 
McAllister street. 
