I£2 
ftERAMIC STUDIO 
NATURALISTIC EFFECTS. 
If the naturalistic treatment be decided upon, and at the 
outset it is probable that more are attracted to this than to 
the conventional, a plaque or tile will make a suitable piece 
to paint. If a flower subject is chosen, the poppy design 
by Sara Wood Safford, January 1904, the prize study of 
arbutus by M. Fy. Hulbert, July 1904, or jonquils, April 1905, 
will afford good topics for a discussion of methods of appli- 
cation. 
Before beginning the work, an arrangement must be de- 
cided upon, and great care taken with the drawing, which is 
to be done in the simplest way possible ; for until the student 
has gained sufficient confidence to paint in a design directly, 
the main masses may be lightly sketched in, rigidly guarding 
against drawing minute details before securing the general 
form. The more prominent portions only are to be indicated 
by the pencil, all stiffness being carefully avoided, as the 
grace of an arrangement frequently constitutes its chief 
charm, while many lines only cause confusion. 
There are two ways of painting naturalistic designs. 
First the object may be painted, then the background; or, 
the background may be painted in and softly blended, and 
while still moist wipe out the prominent leaves, stems and 
flowers. The latter method is more satisfactory if it can 
be done at first, as by so doing all hard lines will be avoided, 
and the crisp brush touches be retained. This necessitates 
more rapid work, but will amply repay the extra exertion. 
Have the work so carefully planned that there will be as 
little hesitation as possible in applying the color, which 
should be done with a free, clean touch. 
It is not advisable for the beginner to try to remedy de- 
fective work. Better wipe off the whole piece than have 
muddy, patched colors stand as a testimonial to the poor 
judgment of the worker. 
Remember that every plant and each fruit has its peculiar 
characteristics of growth, not only of flower, but in the tex- 
ture of leaf, and habit and formation of stems, leafy bracts, 
and hairy or spiny projections. And these are to be sug- 
gested, if not made prominent. 
Much of the success of a piece depends upon the first 
painting, at which time the sparing of lights is to be empha- 
sized, as a defect here can not be remedied in subsequent 
paintings. Having put in the background with the prin- 
cipal colors to be used in the design, to which blue has been 
added to give a feeling of atmosphere, and carefully avoid- 
ing great contrasts of color, wipe out the prominent parts 
of the design. Paint in some of the misty, shadowy por- 
tions, omitting detail, and grey them so as to be subordinate 
to the main masses of the composition. These to be added 
to in second fire. Where leaves should appear dark, make 
them rich, and heavier in color than in the lighter portions, 
which in places may be so thin the china shows through. 
Bright touches of clear green may be used where the light 
shines through the leaf, the colors being softly melted to- 
gether. Let the brush strokes go in the way the leaf curls, 
representing the rough surface of the fall anemone, or morn- 
ing glory, with softened lights, and those having smooth 
surfaces with sharp, clear lights. 
In the delineation of the flowers, fill the brush with color, 
and draw it carefully from the outside edge of the petal to 
the center, forcing the color to the darker portions, and 
avoiding all unnecessary manipulation of the brush. Be 
sure to preserve the character of the petals, but above all, 
avoid all sharp lines in the first painting, as these may be 
supplied later if necessary. Keep every edge soft and 
graded carefully into the background. Apply the gold 
where desired, and fire. 
For the second painting strengthen the leaves, flowers 
and background, add little marks of detail where one petal 
overlaps another, and accent the stems and blossom centers. 
Before firing again the second coat of gold may be added. 
If a third painting be given, put in any additional accent 
marks, use light washes occasionally to bring the whole into 
harmony, and lightly dust the ground with the colors used 
in the first painting to give a richer effect. Any of the col- 
ored naturalistic studies will illustrate well the massing of 
color. 
While first pieces may not be entirely pleasing to the be- 
ginner, this need be no cause for discouragement, as a careful 
and critical examination of every piece will show exactly 
what to avoid; and with each experiment new revelations 
of the possibilities open to the china decorator will be re- 
vealed to the serious student. 
ORCHID STUDY (Supplement) 
Paul Putzki 
TPHE tone of the whole study should be kept in browns, 
* using for the flowers Albert Yellow, Yellow Brown, 
Yellow Red shaded into Carnation and Dark Brown for 
the darker touches. The light green effect in the centre 
and around is gotten by using Yellow Green shaded with 
Brown Green and Yellow Brown mixed. For lighter 
shade of leaves use Dark Green, Canary Yellow- and Yellow 
Brown together, shaded with Brown Green and Yellow 
Brown mixed. The darker leaves are produced by 
using same colors heavier with rather more of Brown Green. 
The background should be laid in with colors to har- 
monize with design. 
GRAPES 
Miss Miles. 
CIRST fire. Wash in background. Bay in large bunch of 
* grapes with Violet of Iron. Underpart of grapes soft 
green, small bunch green ; lay it in with Moss Green and 
Silver Yellow; shade with Brown Green. Green leaves, 
Silver Yellow, Moss Green, Olive Green and Dark Green. 
Brown leaves, Yellow Brown, Auburn Brown and Silver 
Yellow (dust.) 
Second fire. Bring out red grapes, keeping back 
ones flat, using Violet of Iron, top ones light and soft, 
Shade green ones with Olive Green. Work up leaves 
with same colors as used in first fire. Strengthen back- 
ground with Finishing Brown, (dust) 
Third fire. Strong and sketchy lines for detail. 
STUDIO NOTES 
Mrs. Henrietta Barclay Paist announces a change of 
location from her studio in St. Paul to S04 Nicollet Ave.* 
Minneapolis. 
Miss Caroline Hofman opens her new studio at 334 
Madison Avenue, with a study course in design. 
To blacken flat pieces of aluminum, wash them in 
gasoline and allow to dry by evaporation. Then paint 
over with olive oil and hold over a gas burner or alcohol 
lamp. When the oil begins to dry the aluminum will turn 
black. Repeat the operation if the articles are not quite 
dark enough. 
