144 
RFRAMIC STUDIO 
THE CLASS ROOM 
The subject for the next class room will be "Gold Work." The 
same prizes will be awarded as for the previous articles. 
ENAMELS. 
First Prize— Mrs. G. B. Strait, Cazcnovia, N. Y. 
AS "a workman is known by his chips, "and a tailor by his 
scraps, so the status of the one who works in enamels 
may be determined by the manner in which he keeps his 
tools, — as absolute cleanliness is indispensable. 
A trace of color remaining in a brush or on the mixing 
slab, may ruin an otherwise perfect piece of work. 
MATERIALS. 
The materials necessary for good work are few. A 
tile for mixing and a palette knife (the ones used for paint- 
ing will do), tube Aufsetzweiss, lavender oil for use in flat 
enamels, turpentine and a small cup in which to keep it 
when at work, flux, powdered preferred, two square shaders, 
one large and one of medium size, a couple of small pointed 
brushes for lines or dots, the smallest round sables used in 
oil painting are admirable for the latter, and some lintless 
pieces of old muslin cut into convenient size for use in wiping 
the brushes. Also such china paints as may be needed to 
tint the enamels when colored ones are desired. 
KINDS OF ENAMELS. 
Enamels come in two forms, — in powder, and in tubes. 
The former is prepared for use by taking as much of the 
dry powder on the mixing slab as will be needed, moisten 
with just enough Dresden Thick Oil to go all through but not 
make it appear like paste, breathing upon it frequently while 
working it. Next make thin as needed with lavender oil, 
which will be about the consistency to which you mix your 
paste. After the lavender oil is added breathe upon it until 
it will not settle back as if oily when the knife or brush is 
drawn from it, but will follow them in a little point. Now 
rub until the mixture is absolutely smooth, as any little 
grains that are barely perceptible before firing will appear 
much more roughened after. Many advise the use of ;^ best 
English enamel to | of the powdered Aufsetzweiss. 
But unless one has much time in which to experiment, 
or possesses more experience than the majority of china 
decorators, it is better to use the tube Relief White Aufsetz- 
weiss as it is less troublesome to prepare for use, and will 
stand more than one fire. Besides it may be tinted with 
the regular china paints to any depth of color desired. 
When the Aufsetzweiss is removed from the tube it is of 
a dingy yellowish tone, which color disappears in firing, 
appearing pure white with a fine glaze. If the Aufsetzweiss 
is too oily when taken from the tube, squeeze it out on blot- 
ting paper until the superfluous oil is absorbed, then mix with 
a little lavender and turpentine. Now see that the mixing 
tile and knife are perfectly clean. Squeeze out a whole tube 
of the Aufsetzweiss. With the knife shape the contents into 
an oblong mass and lightly mark the top into six parts. Nom^ 
add another part of the powdered flux, mix together, and 
add turpentine, rubbing until absolutely smooth, and using 
enough turpentine so the mass will smooth itself, and any 
lines or dots made with it will not have any sharp edges or 
points. Some use but ^ flux with fine success. Aufsetzweiss 
when used without flux needs a hotter fire than the pinks 
used in painting, so the flux is added in order that a lower 
temperature may be used in the firing process. With the 
enamels prepared in this manner, and with the addition of 
color, anything may be done. It is a great convenience to 
mix a whole tube of the Aufsetzweiss at once, then as you 
wish to use it, remove such a portion as you will need from 
the mass and rub smooth with turpentine. The object in 
not wetting up the whole is that repeated moistenings with 
turpentine, and the consequent evaporation, will create an 
oiliness that may cause the enamels to chip oft' when fired. 
Overfiring will also cause it to chip. As it frequently be- 
comes hardened when in use, thin with turpentine as often 
as needed. 
The mass of prepared enamel may be kept free from 
dust or lint by being placed in a tiny covered palette, or if 
expense is any object, in a low, wide mouthed bottle, or even 
on a bit of china in a pasteboard box. Anywhere so it may 
be kept clean. 
ENAMEL JEWELS. 
The only suitable setting for enamel jewels is made of 
fine paste dots covered with gold. Although the enamels 
will stand more than one fire, it is advisable to place the 
jewels last, after the paste dots have received the final cover- 
ing of gold. To make colored jewels any paints may be used 
■ with the exception of iron colors, such as ochres, reds and 
most browns, including pompadour, yellow brown, blood-red, 
etc., which fire out entirely or leave only a faint, disagreeable 
color. 
Red enamels may be bought ready for use or white 
enamels may be fired, then painted with the color wished. 
COLORED ENAMELS. 
To make colored enamels, take a portion of the white 
enamel prepared according to directions, and add one-fifth, 
more or less, of color according to the intensity desired, 
remembering that the fired enamels arc much brighter than 
the unfired. It is well to make tests if there is a feeling of 
doubt as 'to the result, before applying to any piece of im- 
portance. The flux may not be a necessity if color is added, 
but no harm comes from its use. If ruby jewels are needed 
add to the prepared white enamel the powdered ruby. For 
pink jewels use Carmine, Rose, or Peach. For green jewels 
use Apple, Royal, or Moss. For turquoise jewels use Deep 
Blue Green, or Deep Blue Green and Night Green. For 
yellow jewels use vSilver Yellow, or Mixing Yellow. It is not 
wise to use silver near the pink enamels, as the color is spoiled 
by so doing. Lustres cannot be mixed with enamels. 
METHOD OF APPLYING JEWELS AND ENAMELS IN RELIEF. 
For jewels of large or medium size, take one of the point- 
ed sables, push it under the enamel so that a portion comes 
up in a mass on the tip of the brush, hold the brush handle 
perpendicular to the dot wanted, touch lightly, and with a 
slightly rotary motion, cover the spot where the jewel is to be. 
This is to cover the place in such a way that no air bubbles 
form to produce blistering in firing. When the brush is re- 
moved the jewel should be round and full, but if there is any 
little point remaining, dip the brush in turpentine, wipe on a 
cloth, and touch the projection with the point of the brush 
in the most delicate way possible. The point will then flat- 
ten, leaving a perfectly formed jewel. If the brush becomes 
clogged during use, or the enamel works into the heel, clear 
it at once by using turpentine. 
In forming the dainty scrolls so much used to divide pan- 
