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.

In this work, the first requisite is to have the drawing on the china absolutely correct. This can be traced from a drawing on paper on to the vase and special attention should be paid to having clean cut, perfect lines.

In handling the subject of flesh tones we will speak first of the face, and by the use of the same process, all flesh colorings, even full nudes can be painted.

Having drawn the features as lightly as possible, outline them with flesh shadow very lightly. Then proceed to the shadows of the face. These must be done very smoothly with the same color. On the edge of the shadow add a little flesh gray toward the lighter part of the face. This neutral tone, between the light and shadow, is seen on a person with a good clear complexion. These colors should not be mixed but blended well and carefully. The gray should be a pure tone although very light, as the figure will be spoiled if it is too heavy, for in firing it will be inclined to turn green. Outline the lips faintly with flesh tint and in the same way apply the color desired for the eyes and hair. To be explicit we would say that flesh shadows and flesh gray only are used to paint a face—and the lights left white. All the work must be done while the colors are fresh, and done smoothly so that they will be well blended. If these details have been carefully observed—the article is ready for firing.

To prepare the decoration for a second firing wash the face all over with a light coat of flesh-soft-tint and then touch the shadows with flesh shadow, while the wash used is still moist.

The gray tone should not be used a second time as the first application will show through the flesh tint as a soft warm gray. Retouch and strengthen wherever it is found necessary, and cover the lips with a touch of flesh-soft-tint. Remove all the little high lights, and the article is ready for a second firing. Pay attention to this suggestion. For first firing always use flesh shadow and flesh gray and for second firing use flesh shadow and flesh-soft-tint.

For third firing, shadows should be touched up with flesh shadow; touch up the cheeks with a light application of flesh-soft-tint, and use the same color to shade the lips. Hair, eyes, etc., may be now finished and the piece fired.

It is plain from this short explanation that a method of figure painting could not be more simple and productive of good results. The student is not apt to become confused when only these flesh colors are used.

Flesh gray mixed with flesh-soft-tint makes a darker tone, suitable for shadows of the eyes, etc. Flesh shadows may be added to the above mixture. With a little practice it will be found that by this method of figure painting satisfactory results are obtained in a very short time. The following suggestions should be observed when painting hair for faces of light complexion: Apply a wash of flesh shadow, for shaded parts only, for first firing, leaving the lights pure white; for second firing, a wash of yellow brown should be applied over both light and dark parts and the shadows retouched. Dark hair is painted in the same manner, using hair black softened slightly by adding one-sixth part banding blue. Flesh gray is used for painting gray eyes, and finishing brown for dark eyes. Chestnut colored hair is painted with hair brown or finishing brown. The various colors for painting hair as treated above may be mixed with other colors to suit the preferences of the artist.

It is well to remind the decorator here that the one great fault that the artist has to guard against is, using too strong a red for faces. Use flesh tones and light grays sparingly and bear in mind, never use yellow as it produces a disagreeable effect. Nude figures are painted according to the same methods as explained for painting faces. Brunettes require stronger shadows and grays, but the flesh-soft-tint is used for both light and dark complexions.