264 
RERAMIC STUDIO 
THE CLASS ROOM— THE ART OF TEACHING 
Fifth Prize— Nellie DuBois Henderson 
ff ET the beginner get a good assortment of powder colors. 
*-* The powder colors stay moist longer after being mixed 
up, and are cleaner to have about than the tube colors. 
The following list will constitute a good working outfit : 
Mixing Yellow Brown Green Violet No. 5 
Yellow Brown Dark Brown Banding Blue 
Blood Red Grey for Flesh Apple Green 
Ruby Purple Sea Green Shading Green 
Deep Blue Green Orange Yellow Black 
Copenhagen Blue Pompadour Pearl Grey 
Moss Green Rose Copenhagen Grey 
China pencil 3 regular square shaders Nos. 
Agate burnisher, 4, 7, and 9, 
Bottle of sand for burnishing, 1 pointed shader No. 7, 
Bottle of Fry's medium, An outlining brush, 
Bottle of Fry's special tinting Grounding brush, 
oil, Box of Roman Gold, 
Small palette knife, Plate Divider, 
Scraper or curved eraser, Turpentine and paint rags. 
Palette, 
Use the border for a fruit bowl by Sabella Randolph 
given in the Keramic Studio, for Angust 1906, on page 89. 
Take the plate divider, place the plate on the circle 
corresponding with the plate, and mark the plate in equal 
sections, then with a piece of tracing paper, just the size 
of one of these sections, trace off the design from the book, 
and make it fit to the curve of the plate. The tracing 
paper may be fastened to the plate by little pieces of wax, 
and by means of transfer paper the design may be trans- 
ferred on to the plate. An agate burnisher makes a 
splendid tracing tool. Pour out a little of the special 
tinting oil, and mix with it enough Grey for Flesh to show 
a plain mark, then with the outline brush trace the design 
with a good firm even line of the oil. Let this stand until 
nearly dry, perhaps an hour or two, and then with a little 
piece of cotton, or lamb's wool preferred, rub gently into 
the outline some of the powder Grey for Flesh. In this 
dusting process, be always careful to keep the paint be- 
tween the oil and the cotton. Clean off everything but 
the outline and have this fired. If greater haste is nec- 
essary, one may put in the outline with a little Grey for 
Flesh mixed with a thin syrup of sugar and water. This 
does not make quite as good an outline and is apt to need 
an extra firing to strengthen it at last. One may then 
proceed with the second fire treatment immediately, as 
the oil will not touch this outline. 
SECOND FIRE. 
With special tinting oil and a little Grey for Flesh, 
paint in the leaves and stems with a smooth thin wash of 
the oil, keeping the edges firm to the outline. The Grey 
for Flesh fires out a good deal and therefore has very little 
effect on the dusted color. Let this stand until almost 
dry, two or three hours, and then dust in, as before, the 
following mixture, well ground together: One part Sea 
Green, one part Copenhagen Grey and one part Grey for Flesh. 
After this is dusted and cleaned, the grapes and bands 
may be painted in with the oil in the same manner as 
before, and after drying, dusted with two parts Copenhagen 
Blue, one Banding Blue and one Pearl Grey. Be careful not 
to touch the dusted colors with the fresh oil. 
THIRD FIRE. 
This is an all over tint called envelope. The tinting 
oil with a little Grey for Flesh is painted swiftly over the 
whole plate and with a small pad of cotton covered with 
an old soft silk cloth pad the plate until a smooth even 
surface is obtained, and the oil sounds tacky when padded. 
Let this stand for an hour and a half or two hours, where it 
will be free from dust, and then carefully dust with one 
Copenhagen Grey and one Pearl Grey. This firing will 
bring out a very harmonious plate in blue green and grey. 
In beginning something in the naturalistic work, also 
start in on a smooth plate, and try at first some simple 
flower since it is easier and will teach the painting of color 
in smooth washes. Take the wild rose study by E. Louise 
Jenkins, given in the Keramic Studio for June 1906, on 
page 31. In mixing up the paints, it will be well to keep 
the colors always in the same order, somewhat like that 
given in the list, since it avoids confusion and one learns 
to know the colors quicker. Pour out about a half a 
thimbleful of the powder on the palette and mix with it 
a few drops of the medium. Grind well with the knife 
until all the bits of grit are out. Do not let the paint get 
thin, but mix with it just enough oil so that it will not run. 
For this piece one will need the following colors : 
Mixing Yellow, Brown Green, Copenhagen Blue, 
Rose, Dark Green, Moss Green, 
Violet No. 2, Yellow Brown, Shading Green, 
Apple Green, Ruby Purple, Pearl Grey. 
If necessary sketch in the design with the china pencil, 
making the stem curve gracefully with the plate. Take 
the square shader No. 9, dip it in the turpentine and then 
in some of the Medium which is poured out in a small 
dish. Work the oil all through the brush, wriggle it back 
and forth on the palette until the hairs are all even and 
smooth, and then wipe off the brush carefully on a cloth, 
keeping it broad and flat. This process will have to be 
repeated often. Shove the brush up into the rose color 
pink, working the paint in and then draw back until it 
looks as if it would make a smooth, thin wash. Paint 
in thinly the petals of the roses, bearing clown on the brush, 
so as to give a thinner wash on the high lights. Do it 
all with one brush stroke if possible. A bit of Mixing 
Yellow may be taken in the brush with the Rose for the 
highest lights. Toward the center shade it a little darker, 
taking in the brush a little Ruby with the Rose. The 
blossoms underneath need more Ruby and a little Pearl 
Grey mixed with the Ruby to lower the tone and put them 
in shadow. Leave the centers large and white, and paint 
these in with Yellow, shading with Brown anc: a tiny bit 
of Green in the center. Then with the outline brush and 
a little Dark Brown, softened with a bit of Yellow and Red, 
mark in the stamens. For the light leaves, use Moss Green 
shaded with Brown and Shading Green. Stroke the brush 
from the point of the leaf to the center, and then around 
from the center to the point again, shading it in toward 
the center, and suggesting a center vein. In the dark 
foliage under the flowers, use Brown Green and Shading- 
Green and a little Blood Red mixed with the greens for a 
brownish tone. Violet No. 2 may be used with the green 
for a half tone foliage, and the shadow foliage put in with 
Copenhagen Blue. With the edge of the brush cut out 
the stems from the darkest back ground and leave white 
for the next painting. Paint in the dark stems with 
Brown Green and Brown, and some in the shadow green 
colors. Put the paint on smoothly and do not get any 
hard lines. A rim of gold will finish the plate for the first 
firing. Be sure that the edge is free from paint. It is best 
to have a separate knife for gold and be sure to have clean 
turpentine. Mix up part of the gold with the turpentine. 
