32 
NATURALISTIC SECTION OF KERAMIC STUDIO 
SATSUMA BOX 
Kathryn E. Cherry 
PAINT roses with a very thin wash of Rose using it a little 
heavier for the shading and add a little Blood Red for 
the center. Light leaves and stems and buds are Yellow Green, 
a little Shading Green and Dark Grey. Dark leaves are Shading 
Green, Brown Green and a little Yellow Green. Background 
is Albert Yellow used very thin and a little heavier back of 
roses. Bands are Gold. Dark spot in bud is Blood Red and 
a little Ruby. 
*r & 
PLATE, CUP AND SAUCER (Supplement). 
Mabel Emery. 
THE outline may be omitted, but if it is preferred use Dark 
Grey and a little Violet, the dark tone may be painted 
with Violet or Mauve and a little Dark Grey and the light tone 
is Dark Grey with just a little of the Violet. 
If outline is to be omitted, the dark tone is oiled and 
dusted with Mode; the oil should be applied as thin as possible. 
The light tone is oiled and dusted with 2 Pearl Grey, 1 Ivory 
Glaze and just a touch of Violet or Mauve. The flower and 
bud may be outlined with either the Silver or with Violet and 
Dark Grey, and the flower shaded with Albert Yellow and a 
little Violet. 
NASTURTIUMS (Supplement). 
M. H. Watkeys. 
FOR lightest flowers use Lemon Yellow and a little Brown 
Green and a little Violet added for the deep shadow tone; 
markings are Yellow Red and Blood Red. For darker yellow 
petals use Albert Yellow and Yellow Brown and Violet. For 
red blossoms use Yellow Brown, Carnation and Yellow Red, 
with a touch of Ruby for the darkest tone. For the darker and 
blossom use Blood Red, Carnation and Ruby. Light tone in 
stems and leaves is Yellow Green and Albert Yellow. For the 
middle tone use Yellow Green, Shading Green and Brown Green. 
For darkest tone, Shading Green, Copenhagen Blue arid Brown 
Green. Background, Dark Grey and a little Albert Yellow. 
WATER COLOR TREATMENT 
Rhoda Holmes Nicholls 
A sheet of Whatman's not pressed paper, or any illustra- 
tor's board of good quality, will be the best paper to paint the 
Nasturtium study on by M. H. Watkeys. Having no back- 
ground and no large washes the dampened paper is unneces- 
sary, and would rather interfere with the clear-cut outline of 
the flowers. Although the study is not a truly conventional 
one, yet it leans that way and is better adapted for decorative 
purposes than the purely realistic painting. 
The first step is to make a good pencil sketch of the whole 
subject. Seek for proportion and secure the larger lines and 
masses first; when they are correct there will be little trouble 
in filling in the smaller ones. Remember also to study the 
shapes of the white paper between the penciled line of the flow- 
ers. Those white vacant masses form part of the decoration 
as well as the flowers and finding their correct shape will greatly 
. assist the drawing. 
For the color of the deep red nasturtium use Vermilion, Ali- 
zarin Crimson and Orange, not necessarily all mixed together, 
but broken as in the original. A very little French Blue should 
be used in the deepest spots. The. flowers are all painted with 
the same colors, sometimes more of one and then the other. 
The delicate flower in the center should have Lemon Yellow as 
its foundation. The shading is of Black. French Blue will 
be useful in shadows that have a greenish cast. For the leaves 
use Hooker's Green No. 2, varied with Yellow Ochre, a little 
Alizarin Crimson and French Blue. For the stems, more Yel- 
low must be added and when dry use the Green for the shadow. 
The French Blue will be required in the deepest part. 
It will be well to make a foundation color of the same value 
as the light veins; let it dry before painting the surrounding 
green. If a full brush of color is used the edges will be sharp. 
Where the veins are dark they must be added after the delicate 
line. Outline of the whole subject could be drawn with a pen 
filled with color. It can also be safely omitted. It is put in to 
help the decoration. 
WILD MORNING GLORY (Page 31) 
P. H. Watkeys 
OUTLINE with Dark Grey and Black. Dark leaves are 
oiled and dusted with 2 Water Lily Green, f part Dark 
Grey and a little Shading Green. The turned over part of 
leaves and the calyx of buds are Glaze for Green. Light 
leaves are Florentine Green. Stems are Mode, dusted on 
very lightly. Blossoms are equal parts Cameo and Peach 
Blossom. The marking of blossom is painted with a very 
thin wash of Lemon Yellow toward the edges with a little Yel- 
low Brown added toward the center and a little Apple Green 
for shading next to the center. Background is oiled and dusted 
with 3 parts Pearl Grey, I Ivory Glaze and 1 Yellow for Dust- 
ing. 
(3&&M 
