_Gooseberries._ Lay in the shadows of the tints with moss green and apply wash of apple green over the light parts. Ripe gooseberries have a pinkish cast. To obtain this tint, a light dusting of peach blossom over a very light application of light pompadour will produce a delicate pink, very suitable for this purpose.
_Peaches._ The greenish cast in the outer edge of dark shadows of peaches, is laid in with brown green. This color should be blended with the light parts with a wash of bluish violet color. For the pink tones of the fruit apply a light wash of dark pompadour and the painting is ready to fire.
For the second firing, paint over the entire fruit with a mixture consisting of one part of yellow brown and two parts of ivory yellow. Then strengthen the reddish tints and the shadows.
Do not attempt to work too fast by using the colors too thick. China colors should be used sparingly. The strength of tints is obtained by frequent firings.
Flowers or fruit painted with repeated applications of color will appear soft, glossy and transparent.
“Dusting of colors,” which has been treated under separate heading, will be invaluable in obtaining the delicate blendings so necessary in all natural styles of decoration.
After fruit and grounds have been painted, light dusting of powder colors such as delicate yellow browns, greens and light pinks may be applied with cotton rubbing lightly over fruit and background to produce a soft, harmonious relation of tints.
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The art of figure painting is somewhat difficult compared with the other styles of china decoration, and has been made more so by the introduction of many unnecessary colors and methods of applying them. The beginner who has tried to follow these complicated methods has become discouraged in this very interesting and valuable art of china painting. Figure painting on china has been greatly admired and if a simplified and understandable method were taught, it would become one of the most popular styles of decoration.
Egyptian, Greek, Roman and Renaissance decorations of pottery are all very beautiful, and in these we find figures as the motif, painted both in conventional and in natural style. These decorations do not seem to have been generally followed, although quite easy to produce. But in this chapter we will consider flat figure painting. This being supplementary, it will be found to be the easiest way to produce figures in their natural colors.