KERAMIC STUDIO 
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PRIMROSE STUDY— NANCY BEYER 
PRIMROSE STUDY. 
Nancy Beyer 
MINERAL TREATMENT NO. I. 
CIRST fire — Background, Violet No. 2 with Copenhagen 
*■ Blue, qualified with a little Black. 
Leaves, Copenhagen Blue and Aztec Blue. 
Flowers, Pearl Grey and Yellow Brown. 
Center of flower, Pompadour Red. 
Enveloping tone (very thin) Copenhagen Grey, if it 
seems cold at the end of this fire warm with Grey Yellow, 
take out the Pompadour spots. 
WATER COLOR TREATMENT NO. I. 
Tone a piece of heavy charcoal paper, or German 
white paper, with Raw Sienna and Black (light tone). 
While the paper is damp, working on a wet blotter, 
lay in the study using for the darkest value, which is the 
leaves, Madder, Lake Deep, Prussian Blue and Indian 
Yellow, a light wash of Madder, Lake Deep over the flow- 
ers, in the centre of the flowers use a thin wash of Prussian 
Blue and Madder Lake, finally before scrubbing, wash 
Indian Yellow and Raw Sienna with a little Black over 
the entire background, then when thoroughly dry dip 
in a basin of water for two minutes, remove, placing it 
on a piece of oil cloth which has been tacked to a board, 
with an inch bristle brush pass quickly, but gently back 
and forth over the whole study holding it together with a 
beautiful tone. 
MINERAL TREATMENT NO. 2. 
First fire — Background, Grey Yellow, Yellow Brown 
and Grey Yellow. 
Leaves, Gold Grey, Copenhagen Blue. 
Flowers, Blood Red used thinly, lighter Violet spots, 
Gold Grey and Banding Blue. 
Second fire— Retouch the colors that have fired out, 
using the same colors as before, enveloping tone, Gold 
Grey and Dark Yellow Brown. 
WATER COLOR TREATMENT NO. 2. 
Tone paper a Warm Grey tone, over the flowers wash 
Raw Sienna, center of flowers Vermilion, leaves and 
stems, Prussian Blue and Black. Before scrubbing 
wash a thin wash of Prussian Blue over the background, 
when dry scrub with a bristle brush, finally over the back- 
ground wash Vermilion (very thin), allow to dry and 
scrub again lightly. 
ANSWERS TO CORRESPONDENTS 
Miss H. — You will find many designs for Tobacco Jars in Keramtc 
Studio, October 1905, also scattered ones in December 1905, January 
1902, December 1900, July 1900. 
Mrs. C. — A high temperature kiln could be used easily for overglaze work. 
Matt colors are fired at the same temperature as other colors. The same oils 
are used for grounding with them as for other powder colors. They are ap- 
plied on the same surface of china. They are used only for grounds in com- 
bination with gold and lustre. 
S. W. — Miss Ida Failing (see directory) makes an enamel for mending 
chips on china which is very good. Sartorius makes a good cement for re- 
pairing broken pieces. These cements are for repairing in firing. 
In order to paint on glass, colors especially fluxed for that purpose must 
be used. Hancock's paste for raised gold, same as for china. Roman gold 
can be used over the paste but for flat gold one must have a special prepara- 
tion. Enamels also are specially prepared for glass. We have frequently 
given these instructions in these columns. 
EXHIBITION NOTES 
The Exhibition of the New York Society of Keramic 
Arts which was to be held from April 2d to April 1 5th, at 
the National Arts Club, Grammercy Park, New York, will 
open only on April 4th. 
