RERAMIC STUDIO 
ing brush strokes, and lay in the house and grass plot with a 
thin wash of yellow brown, the roof, path and horizon line of 
trees with a thin wash of pompadour, the trees and outlines 
with royal green or moss green. Then take the yellow brown 
powder color and dust lightly over the entire border as much as 
the painted color will hold. After firing tint the plate deli- 
cately all over with pearl grey and then dust it with the same 
color and fire, if you find then that you have greyed your color 
too much you can repeat the work of the second fire. It is 
only by repeated fires that the desired softness of texture will 
be obtained. Any other color scheme can be worked out in 
the same way. 
When heavy dusted color is used in a design it is always 
best to do the dusting first where desired, then clean out the 
parts not to have the dusted color. Do not dust too heavily 
or it will chip if not in the first, then in a later fire — rely on re- 
peated dustings to get the desired depth of color rather than 
try to get it in one dusting. When gold grounds are used, 
they should be put on last and usually require two good coats 
for the first fire and one good coat in the second fire. Gold 
outlining may be done only on the white china or on fired light 
tones, or by the use of paste for raised gold. If enamel jewels 
are used, the paste settings are fired first and the enamel put 
in after the paste is gilded. Black outlines as well as gold 
usually require to be gone over twice, the second time being 
after every thing else is finished. 
When used in combination with lustre, mix the powder 
black with a thin syrup of sugar and water, then the outline 
can be put right on the lustre without any danger to the latter. 
Unless extreme care is taken turpentine will run a little on the 
lustre and make a white edge to the outline. Directions 
for raised paste will be found in the January, 1905, Keramic 
vStudio. An article on Enamels Avill be published next month. 
^^<l 
f 
fSg^fi 
f 
STUDY OF WASPS PROM "ART ET DECORATION "; 
TREATMENT FOR PITCHER IN MOUNTAIN ASH 
BERRIES— (Supplement) 
K. E. Cherry 
OUTLINE design with black, and fire. Second fire. Light 
leaves: Moss Green, two parts; Grey for flesh, one part. 
Dark leaves, add to the above for light leaves, Brown Green. 
Berries: Yellow Red for lights. Blood Red for shadows. 
Third fire. Oil the pitcher with special oil, pad this quite 
well, and when tacky (almost dry), dust through border, with 
mixture of three parts Pearl Grej^ one part Yellow Brown. 
Below border with mixture of two parts Pearl Grey, one of 
Meissen Brown, one of Grej' for flesh; use same color for han- 
dles and bottom. 
Fourth fire. Retouch berries and leaves with same colors 
as used when laying them in, and strengthen the lower part 
of pitcher and very top edge and handle with mixture of Yel- 
low Brown one part, Brown Green one part, Shading Green 
one part, and one of Grej' for flesh. 
NEW YORK EXHIBITION 
An accoimt of the exhibition of overglaze painting and 
pottery at the National Arts Club will be given in June issue. 
The exhibition will last iintil May 8th. 
MORNING GLORY 
F . B. Aulich 
DESIGN OF WASPS FROM "ART ET DECORATION " 
THIS frail but beautiful flower is not universally a favorite 
as the rose is, still I tliink it is so wonderfully delicate 
that one can not help admiring it. The center is the 
hardest part to paint. Use Rose for the lighter flowers and 
buds. Turquoise Blue, Dark Blue and Blue Violet for the 
dark. The background should be kept in airy colors like 
Blue Green, Yellow Green and Grey for white roses. 
