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NATURALISTIC SECTION OF KERAMIC STUDIO 
PLANT ANALYSIS—FLORENCE WYMAN WHITSON 
SCARLET SAGE (Supplement) 
M. H. Watkeys 
OUTLINE with Dark Grey and a little Black. Pink flowers 
are painted with Pink or Rose. The light red tone is 
Yellow Red and a little Carnation. The dark red is Blood 
Red and a very little Ruby. Yellow leaves are Albert Yellow 
and a little Brown Green. For the darker leaves use Shading 
Green, a little Yellow Green and Brown Green. For brown 
stems use Dark Brown, a little Blood Red and Yellow Brown. 
Background, Apple Green and a little Dark Grey. 
WATER LILIES (Supplement) 
Treatment by Jessie M. Bard 
PAINT the background in first around the flowers. The 
water tones are Copenhagen Blue, Violet, Apple Green 
and Blood Red. Light leaves are Albert Yellow, Brown 
Green and Apple Green. Dark leaves are Shading Green, 
Copenhagen Blue, Yellow Green, Brown Green, Blood Red 
for the turned over part, Dark Brown or Auburn Brown and 
Copenhagen Blue for the brown shadows, Yellow Brown, 
Brown Green, Apple Green and Copenhagen Blue for the back- 
ground. The shading on lilies is Violet, Rose, Albert Yellow 
and Brown. Green Centers are Albert Yellow, Yellow Brown 
and a little Yellow Red. 
WATER COLOR 
Treatment by Rhoda Holmes Nicholls 
Take a sheet of Whatman's 90 lb. cold pressed smooth 
paper, dampen it and place it on wet blotting paper 
over a drawing board; when the paper is thoroughly soaked 
pass a towel over it. With a small sable draw the lilies and 
pad with Cobalt Blue. Make a dab of Indian Yellow and 
Lemon Yellow for the centre. Cover the white petals with 
a grey made of Cobalt Blue, Lemon Yellow and Rose Madder. 
Cover the whole paper with a tone, making it much darker 
near the lilies. For this wash use Indigo, Alizarin Crimson 
and Burnt Sienna. Paint in the leaves with Hooker's Green 
No. 2, Raw Sienna and Rose Madder. Now return to the 
flower, take out the lights with a bristle brush and strengthen 
the shadows; mark the stamens with Indian Yellow. Paint 
the reflections keeping them lower in tone than the original. 
Use Antwerp Blue, Raw Sienna, Black and Alizarin Crimson. 
Look over the whole, correcting mistakes. 
When dry pass quickly over the whole with a large brush 
and a little clean water to bring it together. 
Use bristle and red sable brushes. 
PLANT ANALYSIS— FLORENCE WYMAN VHITSON 
