268 
RERAMIC studio 
with the Yellow, and where indicated wash over lightly 
with Yellow Brown and pad off. Put in the stamens 
with nice lines like the veining, anthers and other parts 
as indicated by the study, with the liner. 
I always put in the first background myself, using 
a large flat brush and plenty of the medium to keep the 
paint open till it can be worked down. The back- 
ground is no exception to other parts of the work. It 
must be clear and clean. If you do not use sufficient oil 
in the brush the paints will dry before they can be worked. 
If they do there is no remedy but to take them off and 
start again. If too much oil is used the work will have a 
woolly look, and that won't do either. All the paints 
will dry more or less on the palette while one is at work, 
and to thin them dip the palette knife in the turpentine 
and with a drop or so, stir the paints up to their proper 
consistency. For the backgrounds I always get fresh 
turpentine to rinse the brush in when going from one 
shade to another, and have three or four fresh pads made 
so as not to mix the colors when blending. For turpen- 
tine have a large mouthed bottle that the brushes can be 
put into and keep stopped when the turpentine is not in 
use. For instance when you have used a pad on the pink 
roses don't use that on the yellow centres or you will mix 
the color. After the background is finished the plate is 
ready for the first firing. To paint for the second firing 
is simply a repetition of the first in order to strengthen 
the colors. After the plate is perfectly dry, look it over 
carefully and if there are any specks on it, pick them off 
with a needle, before sending to the kiln. If more depth 
of color is required on the first or second firing than what 
the painting gives, before the plate is dry (when perfectly 
dry it will feel crusty and hard to the touch) smooth some 
of the color that you wish to darken with the palette 
knife, and with a piece of cotton pick up some of the dry 
paint and rub it over the part to be darkened. With a 
soft brush dust off all that will come off. 
After finishing a lesson always rinse the brushes well 
in turpentine and dry to preserve them. 
o o o 
Bertha G. Morey, Ottumwa, la. 
To teach china painting successfully, arrange a course 
and start a class of beginners at the same time. 
Have all the pupils paint the same thing, as it is easier 
for each pupil to see her own advancement. 
Have each pupil keep a note book and, after the lesson 
is over, have them write down the way they learned to 
apply the paint; how they mixed it and what colors they 
used on the piece just painted. A note book may seem 
to take a great deal of time but it saves answering the 
same questions over a dozen times. 
CHINA. 
The pupils should get china that will give good re- 
sults in firing. It is a waste of time and worry for the 
pupil to indulge too freely in cheap china. 
Give them a lesson or so in simple things until they 
have learned their colors and the use of their brushes. 
Demonstrate to the class the care of their brushes and 
try to impress upon them the importance of cleanliness 
in all things in china painting. 
I have arranged a list of subjects which, if taken 
straight through, will give a pupil a pretty good idea of 
naturalistic work. The use of colored studies is a help 
until a pupil is quite advanced and knows the colors. 
I. — Currants, T. McLennan Hinman, March 1903. 
II. Plums — Teana McLennan Hinman, May 1906. 
III. Tittle grapes — Sara Wood Safford, Nov. 1904. 
IV. Strawberries — Sara Wood Safford, July, 1906. 
V. Apples — Miss M. Mason, October, 1905. 
VI. Oranges — Miss M. Mason, December, 1905. 
VII. Pine cones — F. B. Aulich, September, 1905. 
VIII. Double violets — Marshal Fry, November, 1900. 
IX. Yellow wild roses — Ida M. Ferris, June, 1906. 
X. Fleur de lis — F. B. Aulich, September, 1901. 
LUSTRE AND MATT COLOR 
VI. Design for Stein — Albert Pons, p. 42, June, 1906. 
Flowers in yellow lustre and leaves in green lustre, the 
background of cream in matt colors and the base of the 
stein in green matt with gold handle and outlines. 
ENAMEL. 
VII. Bunch Berry Design for plate, November, 1904. 
ETCHING. 
VIII. Peacock Design for Bonbonniere, 1904. 
Etch in design and use scheme given by designer. 
& -f 
PLUM BRANCH (Page 265) 
Photograph by Helen Patter Treatment by H. Barclay Paist. 
A FTBR sketching in the main outline of the branch 
^* tint the entire vase or panel with Grey Green or Sar- 
torius Pearl Grey which is a delicate Grey Green. With 
a cloth over the finger wipe out the masses and finish the 
detail with cloth or bit of cotton over a stick. Dry dust 
with same color, clean again any color that has adhered 
to the design and fire. The directions for modeling same 
as for water color treatment, using Grey Green for flowers. 
Olive Green and Dark Green for leaves and glazing. Then 
with Moss Green for third fire. 
The color for stems are Copenhagen Blue for lights and 
Purple Brown or Violet of Iron for modeling and glazed 
with Moss Green for third fire to soften. 
Another pleasing background would be Van Dyke 
Brown. The background may be laid flat or shaded from 
light to dark. In case the warm pinkish background is 
chosen (Van Dyke Brown) the same color may be worked 
into the flowers also along with the Grey Green as the 
background color determines the modeling tint of white 
flowers. 
WATER COLOR TREATMENT 
After sketching the main outlines of the branch care- 
fully — lay on a flat wash of Grey Green (made by mixing 
Paines' Grey and Gamboge) . After drying repeat if the wash 
seems too pale. It must be lighter than the lightest leaf 
but dark enough to throw out the blossoms. Use the same 
mixture to model the flowers, paying the strictest attention 
to values, as that is nearly all there is in a white flower 
unless color is borrowed from surroundings. The same 
mixture can be used for the first wash of leaves using less 
water so as to make the color stronger. The leaves may 
then be darkened and modeled with a mixture of Ultra- 
marine Blue and Indian Yellow. (This makes a fine 
strong green.) The lights on the stems are made by mix- 
ing Ultramarine Blue with a touch of Vermilion — (this 
makes a fine blue grey) — and the stems are modeled with 
a purplish brown made by mixing Ultramarine Blue, 
Crimson Lake (or Carmine) and Indian Yellow. Just 
enough yellow to soften the purple. This is a difficult 
subject and will require the closest attention to drawing 
and values — repeat the directions until both are attained. 
Another suggestion for background is a soft pinkish 
brown made bv greying Vermilion with Charcoal Grey. 
Two washes of this tint makes a beautiful color answering 
to Van Dvke Brown in the mineral colors. 
