KERAMIC STUDIO 
141 
this temperature for half an hour. The color will grow 
deeper the longer it is kept in the dye. When the color 
suits, rinse the cloth in cold water and dry. 
ANOTHER MADDER RED 
For ever}' 2 pounds of goods take I pound Madder, 
i pound alum and } pound cream tartar. Dissolve the 
alum and cream tartar in enough soft water to cover the 
goods well, and heat with the goods in it for two or three 
hours. Throw away this liquid and rinse the kettle and 
put in the same amount of soft water as before, and soak 
the Madder all night. In the morning make a slow fire, 
put in the goods, increasing the heat until scalding hot. 
Let remain from one-half to one hour. 
Two oz. powdered Cochineal and ^ oz. cream tartar 
for every three pounds of goods and sufficient water to 
cover the cloth. Simmer for two hours, then immerse the 
cloth, previously wrung out in clear water. Bring to a 
scald. In a few minutes it will be finished. Increase or 
diminish the amount of Cochineal to darken or lighten the 
tone. Cochineal is fugitive compared with Madder. 
DOVE COLOR 
All shades are made by boiling in an iron vessel one 
teacupful of black tea with one teaspoonful of copperas 
and sufficient water. Dilute this until you get the right 
shade. 
BROWN 
For each pound of wool take \ pound of alum, 2 ozs. 
of cream of tartar, and boil half an hour. Soak over night 
^ pound Red Powder, \ pound Fustic and 2 ozs. of Log- 
wood with sufficient water to cover the goods. Take out 
the goods from the mordant and boil with the dyestufF for 
one half hour. A tablespoonful of copperas will darken 
the shade. 
STUDIO NOTES 
The studio of the Misses Mason will open Oct. 23rd. The 
class in design under .Miss Maud Mason jwilljbegin its term 
on the same date. 
The studio of Mrs. Vance Phillips will open Oct. ist. The 
Chautauqua class had a successful season. Miss Fanny 
Scammel of New York being in charge of the decorative 
work. Miss Nora Foster of Jersey City, a student of Arthur 
Dow and Marshal Fry, gave an illustrated talk on design to 
the ceramic students, the color drawings showed the prog- 
ress made in a three years ' course and was of great interest 
to the students. 
ANSWERS TO CORRESPONDENTS. 
Painting, E. A. -Charge the large flat shades with color; begin with a 
flower petal, spreading the brush at the outside edge and drawing liglitly to 
the center. After a little practice one can, in one stroke, by graduating the 
pressure on the brush, paint an entire petal, pressing the color to the darker 
portions, and drawing the brush so lightly over the lighter parts that the petal 
will be sufficiently shaded for one fire. The same method will be followed for 
leaves, scrolls, etc., where shading is used. For flat, conventional work, the 
endeavor will be to keep an even pressure of the entire surface to be painted 
so that there will be little variation in depth. A good teacher is needed in 
learning to paint more than in any decorative work on china; written In- 
struction is not enough. 
Tinting, S. A. J. -If tube color is used, take one-third as much color as 
flux as much fat oil as color and flux combined; rub together thoroughly on a 
ground glass palette, thin with oil of lavander until the color wiU flow freely 
from the brush without feeling sticky. Go over the surface to be tinted rap- 
idly with a large square shader or grounding brush. Then take a wad of cot- 
ton covered with a clean piece of old soft silk and pad lightly over the entire 
surface, not trying to finish one spot, but repadding over the surface until 
tlic whole is a uniform and smooth tint. Several pads sl:ould be kept in 
readiness, as when one pad becomes charged with color a fresh one sliould be 
taken. The large camel's hair dusters are splendid for this work, l^ut are ex- 
pensive and do not last very long, the hairs coming out, a few at a time, every 
tinting. In this case pay little attention to them, just brushing a little to one 
side to be sure that they do not adhere; when the tinting is dry they will 
then brush off easily. If powder colors are used, rub the powder down with 
fat oil until of the consistency of stiff tube paint, then thin with oil of lavan- 
der and proceed as above. 
Grounding, A. B.-To ground a color, cover the surface to be grounded 
with grounding oil laid as smoothly as possible; pad lightly with a sUk pad 
until the surface is perfectly even and a little"tacky." Then take a lot of 
powder on the end of a palette knife and drop on the oily surface until covered ; 
then take a wad of cotton and distribute it evenly, avoiding touching 
the cotton to the uncovered oil ; bru,sh off the superfluous color onto a paper 
spread under the piece. The surface should present a uniform dull surface: 
if any spot looks wet repeat the process until dry. 
Sr. M.-Red enamels can only be obtained ready mixed. Miss Mason has 
a very good red enamel. Blue enamels can be made by mixing with aufsetz- 
weis any desired blue, using not less than one-fifth enamel. Dark blue enam- 
els also may be bought ready prepared. When directions are given to dust 
with two or more colors in certain proportions, as Pearl Grey three parts, 
lemon yellow one part, it is best to mix those two colors thoroughly on the 
palette with alcohol and when dry use the mixture for dusting. 
Mrs. F. H. -When certain colors, like Yellow Brown, disappear in the 
firing, they were not used strongly enough. Two or three firings are necessary 
for any successful painting, in order that any colors that disappear from 
weakness may be replaced and weak spots strengthened. 
V. S.-Wood alcohol, followed by soap and water is very satisfactory for 
washing brushes where turpentine is offensive in the "Class Room" read 
directions for substituting grain alcohol and lavander oil for turpentine in 
painting. 
J. B.-Matt colors are grounded. They are not appropriate for painting. 
They are sometimes called gouache, but matt is the customary designation. 
See directions for grounding in the "Class I^oom." 
ERIC PAPE SCHOOL OF ART . . . 
Cor. Hassacbusells .4ve. and Bojlslon Sis. 
BOSTON, MASS. 
Head Instructor and Director, Erie Pape; Manager, Charles A. Tjawrence. 
EIGHTH YEAR:-OCTOBER 2, 1905, TO JUNE 2, 1906. 
irNo exanjinatioiis for admission to any of the classes. IT Students begin by drawing 
from the nude and costnme models, as is done in tiie Paris academies, upon which the 
school is modeled. IT Fine large studios. IT Drawing, Painting, Composition, Illustra- 
tion, Decorative Design and Pyrogravure. IT Drawing and painting from " life," sep- 
arate classes for men and women. IT Portraiture, Still Life, Flower Paintinir, Water 
Color, Pastel, Composition, Decorative Design and Painting, Practical Design for Tex- 
tiles. 'J Ilhistration, Pen, Wash, Gouache, Poster and Book Covering Designing. 
irMorning, Afternoon and Evening Classes. IT Scholarsliips, Medals and Prizes. *T For 
illustrated circulars address the Secretary. 
FOR MINIATURE AND FIGURE PAINTERS! 
Photographs on Cliina fired in, also fine relief gold work ; Monograms ; Acid 
work on China and Ulass ; Photos on Ivory ; China and Grlass flred for Ama- 
teurs. Instructions on China Painting; Designing of any kind. 
Why n(,t try luy own make of Roman "FULL VALUE" Gold, in Glass 
Jars, .lil UO and .f:i.(lU. Sent on receipt of money, prepaid to any address. 
H. CANTIUS, China Decorator t^ Glass Painter 
229 W. 67th STREET, NEW YORK CITY 
KERAMIC SUPPLY CO. 
China Painter's Colors 10 cents each 
658 Lemcke, . INDIANAPOLIS, IND. 
We have a large assortment of 
colored studies. Our 1905 Catalogue 
i54 pages, 200 illustrations, is a text 
hook on China Painting. Mailed on 
receipt of 10c. Address KERAMIC 
SUPPLY CO.. 65S Lemcke. Indianapolis 
