208 
RERAMIC STUDIO 
COLORED SUPPLEMENT 
POPPY PANEL 
N carrying out the treatment for the poppy panel, 
use Vandyke Brown, Capucine Red, Grey Green 
and Black. 
Tint the panel all over with Vandyke Brown, 
clean out the leaves, stems, and the pod in the 
centre of the flower and lay in a flat wash of Grey 
Green. Paint the stamens with Black, outline the 
leaves with Dark Green, the flower with Violet of 
Iron and fire. For the second painting, model the 
flower with a mixture of Vandyke Brown and one- 
fifth Capucine Red, strengthen the leaves where they 
turn over with Olive Green, and the stamens with Black. 
The effect is more pleasing if the outline is not too sharp. 
CHERRY BLOSSOM PANEL 
For this background use also Vandyke Brown. For the 
first firing, tint, cut out the flowers and leaves, and 
dry. Lay in the leaves with Olive Green, stems with 
Copenhagen Grey, shade the flowers just enough to separ- 
ate them and outline with Grey Green. Use a touch of 
Albert Yellow in the centres, and suggest the stamens 
with Grey Green. 
After firing, strengthen the leaves where necessary, 
shade the stems with Black, strengthen the stamens and 
outline the leaves with Dark Green. 
PANEL-BIRDS AND APPLE BLOSSOMS (Page 205) 
A FTKR placing the drawing, tint the panel with Grey 
**• Green. Clean out the bird and flowers, paint the bird 
with Yellow Brown, greyed with Black, and Black mark- 
ings. For the blossoms, model delicately with Grey 
Green and touch the edges of the flowers and the buds 
with Deep Red Brown, use a touch of Yellow in the cen- 
tres and Yellow Brown for the stamens. Lay a wash of 
Olive Green over the leaves and a wash of Yellow Brown 
and Black over the stems. 
For the second firing, wash the bird delicately with 
Yellow Ochre to which has been added a touch of Black. 
Strengthen the Black markings again, paint the darkest 
leaves with Dark Green, strengthen the centres of the 
flowers, accent the stems with touches of Black, and fire. 
PANEL— BIRDS AND BLACKBERRIES (Page 205) 
LET us choose as a background for this composition a 
rich yellow. For this mix Yellow Ochre and Orange 
Yellow in equal parts. The bird will be yellow and black, 
the Orange Yellow on the breast and head. For the back 
and wings a mixture of Yellow Ochre and Black, accented 
with pure Black. The berries are in varying tones of purple 
and black, using Copenhagen Blue for the lightest ones, 
modeled with the same. For the darker ones the lights 
are Copenhagen Blue and the modeling done with a mix- 
ture of Dark Blue, Ruby and Black in equal parts. It 
would be well to suggest an unripe condition in one or two 
of the smallest berries, this being secured with the use of 
Moss Green and Olive Green, with a touch of Violet of Iron 
to suggest the ripening process. The leaves are painted 
with Moss Green, Olive Green, Dark Green, Violet of Iron 
and Copenhagen Grey. The reverse side of the leaves 
painted in the latter color for the first fire, the other leaves 
modeled with the first three colors, stems in Moss Green, 
and shaded with Violet of Iron. In the suggestion of the 
blossoms after the petals have fallen the center is Albert 
Yellow, and Moss Green for the sepals, these with the 
stamens being touched with Violet of Iron. 
CUP AND SAUCER— BIRDS AND HAWTHORN (p. 206) 
I F this is carried out in mineral color use Orange Yellow 
* for birds, Olive Green stems, a touch of Deep Red 
Brown or Rose on the blossoms. Lay the background 
in Green Gold, outlines and flower centers in Black. 
i? *> 
PLATE-BIRDS AND BLACKBERRIES (Page 206) 
A FTBRplacing the design with India Ink, tint all over with 
■**■ Neutral Yellow. Clean out the design and the path 
around the design. Lay birds with Albert's Yellow, 
leaves with Grey Green or Olive Green, berries with a color 
made by mixing Banding Blue, Ruby Purple and Black, 
(equal parts), lay in stems with Yellow Brown, make the 
path .around the design and the inner band with Gold. 
Be sure that the china is perfectly clean before applying 
the Gold. Now dry thoroughly and outline with Black 
to hold the drawing. After firing, the birds may be 
strengthened by having a wash of Orange Yellow. If 
the leaves and berries seem weak or uneven in color, re- 
peat the wash, using same colors, lay on a second coat of 
Gold if it looks thin or uneven. Dry, outline again and 
fire. 
The birds may be painted with Orange Lustre; if this 
is done, leave the Lustre for the third fire as the outline 
should be perfect and should have been fired twice before 
the Lustre is applied. 
*• ■? 
PLATE AND BAND— TURKEY DESIGN 
TINT the borders with Neutral Yellow. After drying shade 
the birds with Yellow Brown and Shading Brown, 
leaving the Neutral Yellow for the lightest spots in the 
tail. For the red part of the head, use Pompadour Red; 
for the inner band, suggesting grass, the path around the 
turkeys and the outer border, Olive Green. The outline 
is Black. After firing, strengthen the color and outlin- 
ing where the}" appear to be weak. 
•e *• 
INLAID METAL WORK 
RECENT advices from England say that Sherard Cowper 
Coles has invented a new process by which, it is 
claimed, metals can be burned into one another at a temper- 
ature hundreds of degrees below the melting point of any 
one of the metals, thus enabling new effects to be obtained 
and also the blending of various metals, which hitherto has 
been impossible. Inlaid metal work can be produced similar 
in effect to the finest damascening, or, on the other hand, the 
process readily lends itself to larger work requiring greater 
boldness, such as panels. 
By a variation of temperature the depth of the inlay 
can be regulated, and at the same time one metal can be 
considerably raised above the other, at the will of the oper- 
ator. Very pleasing effects can be obtained by the process. 
— Jewelers Circular. 
