The first law of conventional design is that each form must be outlined. When this is done the decorator should have a comparatively easy time, and a remarkably interesting one, for conventional work is adapted especially to wonderful color combinations.
The colors, as a rule, are more effective when laid on in flat tones. Shading is not at all common in strictly conventional work, and one does not necessarily adhere to the colors nature has chosen for the object which suggested the design.
Enamel and lustre are especially fitting to conventional design, and gold may often be used for flower or leaf form where in naturalistic painting it would be entirely out of place.
For a long time keramic artists looked askance at the new style because of the amount of work required in outlining. This was a tedious affair involving a fine brush or pen, paint or ink, which refused to work right, and endless endurance.
All this has been overcome by means of new process outline designs which fire into the china distinctly and form a black outline around the painting. Those who are ambitious may now make a reputation without ruining their eyesight or taxing their patience.
Conventional Single Yellow Rose. Primrose Yellow shaded with Apple Green toward centre; stamens may be Gold or Dark Brown. Light leaves are painted with Moss Green shaded with Shading Green and dark leaves may be laid in with a mixture of Apple Green and a very little Deep Purple. Stems are painted with Auburn Brown. A good background for this scheme is Gray Green lightly applied.
Conventional Wild Rose. Paint with Sweet Pea Pink with very delicate application of Apple Green toward centre. Stamens are painted with Ruby and center dot may be Gold. Leaves are laid in with a mixture of Apple Green and very little Deep Purple. Roman Gold or Turquoise Lustre is effective as a background for inside if design will admit. For outside of design, or general background, use Oriental Ivory.
