ii8 
KERAMIC STUDIO 
This is merely a violent reaction against cheap and mere- 
tricious machine-made goods, and while the revolt is in 
the right direction, it is sadly overdone at times. There is 
no reason why a craft worker should not use every possible 
aid that modern invention and science place at his disposal ; 
for at best he has to contend against the disparity immense 
of price between his hand -work and machine made articles. 
It is simply a false ideal for him to adhere to laborious and 
discarded methods if a good and easier way has been found 
for achieving the same results. I write this in defense of 
the modern method of dyeing, in contrast with the tedious 
and restricted vegetable dyeing of former days. Where 
but a small amount of material goes into a finished article, 
it may be practicable to use vegetable dyes; but in rugs 
where every square foot requires one and a half yards of 
material, and often from sixty to one hundred yards are 
required, it becomes an impossible tax upon the time and 
strength of a worker, to say nothing of the elaborate equip- 
ment required if one is working on a considerable scale. I 
should not advocate aniline dyes as a labor saving sub- 
stitute, if I had not been assured by several experts that 
aniline colors, which formerly were fugitive, have now been 
brought to such perfection that they have entirely super- 
ceded vegetable dyes. I was told also, that, previous to 
the year 1875, new books on vegetable dyeing were con- 
stantly brought out; but since that date no book of any 
importance has been issued. Further testimony comes from 
friends in the tropics whose income from vegetable dyes 
has ceased. They say the business is gone, that there is no 
longer any demand for them. After seven years use of 
aniline dyes I give the heartiest endorsement to their per- 
manence and the beautiful tones they yield. But one must 
get the very best in the market, and the colors must be 
blended and modified. I had an importer compound 
colors to match a sample of green, dull yellow and dull red 
that I sent him, and these same formulas for the dry powders 
are used in preparing my colors year after year. My range 
includes a dull and a bright red, a dark and a bright blue, 
a dull and a bright yellow, a green and a drab. From these 
I have secured over two hundred tones which enable me to 
match any samples of coloring sent me by those who want 
to order special rugs. All my formulas are based upon these 
eight colors, and with them I am able to secure exact tones 
year after year. 
The first requisite for dyeing is a large brass or copper 
kettle. The old fashioned ones are round bottom and do not 
set well upon a stove. I had mine made of the heaviest 
grade of tin-lined copper, with a flat bottom, eleven inches 
high, thirteen inches across the base and sixteen inches 
across the top. The top edge was turned over a heavy wire, 
and the kettle is furnished with a stout iron bale. This 
kettle takes from nine to twelve yards at a time, but a 
smaller one would answer for a beginner. To drain my 
flannel when it comes from a dye bath I use a heavy wire 
dish drainer which I rest on a stick laid across the kettle. 
The kettle should have a cover of either wood or metal. 
To secure uniform results I have found it necessary to 
use my dyes in liquid form. I dissolve my colors separately 
in quarter ounce quantities in a pint measure, first pouring 
on a little cold water and stirring well to dissolve the dye, 
then filling up the measure with boiling water. This is 
stirred thoroughly and each liquid color is kept in its own 
bottle. When half a teaspoonful of liquid dye will often 
make a marked difference in the tone of a color, it is obvious 
that the dry powder could not yield. agcuratQ results. I 
prefer to dissolve my color only as I am about to use it, 
for the bright yellow, green and dull red have a way of 
settling at the bottom of the bottle and this thickened 
sediment, unless well shaken, is apt to make a stronger 
color than is desired. 
A CHAIR SEAT IN GREEN AND IVORY 
Other necessary articles are a long handled spoon to 
stir the dye bath, table and teaspoons to measure the liquid 
dye, a pair of stout gloves, a set of scales which will measure 
a quarter of an ounce to six ounces, an acid measuring 
glass (ounce Phoenix graduate, American standard) and 
two smooth sticks, about eighteen inches long, to stir the 
flannel in the bath, (to be continued.) 
ANSWERS TO CORRESPONDENTS. 
Mrs. M. C. — We think it would probably be safe to fire tlie Japanese 
piece repaired with cement in your kiln, however, there is always a certain 
risk in refiring of this kind. 
Mrs. S. C. — We tliink either formula which you mention might make a 
good painting medium, but personally we prefer for powder colors a mixture 
of Copaiba 6 drops, oil of cloves 1 drop. This is good for both flower and 
figure painting. Spirits of turpentine are then used in the brush to thin the 
color. For tube colors, spirits of turpentine, oil of lavander and oil of cloves 
are used for painting the first drying quickly, the second more slowly and 
oil of cloves keeping open a long time. For tinting the general rule is to 
add as much fat oil as color and flux (J) combined and thin with lavander 
H. M. — Burnished silver is silver precipitated in powder form. We do 
not at present know the process but will endeavor to procure the method for 
you. 
M. W. B. — For your boullion cups it would be in good taste to use 
decorations of small roses, violets, shells and .sea moss if you wish, providing 
you confine the decoration to a narrow border, otherwise your dainty flowers 
would be always "in the soup." 
Mrs. J. D. B. — We will give a colored raspberry study as soon as we can 
procure a good one. A treatment for red raspberries. See next issue. 
Mrs. C G. H. — Banding wheels are useful both for color and gold and 
pencil, but need some experience for good results. We think the makes of 
gold advertised in Ker.'^mic Studio are all good — it would be impossible as 
well as impolitic to say which special make is best. To get the best effect 
in painting small red roses, paint first with blood red or pompadour, and 
retouch with ruby in second fire, this avoids the purplish tint. If your gold 
drys too soon with spirits of turpentine use a little oil of lavander. 
Mrs. A. W. C. — You will find the desired information in the October 
Class Room under "A Color Palette and its Use." 
M.J. R. — ^For the pitcher in Mountain Ash Berries. — The narrow red 
border may be made of yellow red; where two tones of yellow are shown 
the deeper color is made by a second dusting in the second fire. The colors 
are dusted on one color at a time, if a mixture of colors is used it is put on in 
the second fire. Stems are yellow green and brown green. In the foiu-th 
fire the brush is used for the painting of the design, grounding oil and color 
for the tints. Rose lustre can be fired in any kiln but must be fired just 
right not to be purplish — the purplish cast comes from overfiring. 
