146 
KERAMIC STUDIO 
els, pick the enamel up carefully on the very tip of the brush 
and with a Hght,careful stroke draw the enamel from the hea- 
vier part toward the tip. It is not necessary for the brush to 
touch the china, simply the enamel. If a wrong stroke is 
given, let it remain a moment until surface dried, Avhen it may 
readily be removed with a pen knife. This is sometimes easier 
than to use a brush. Where long lines are to be drawn 
the joining must be done with care as is displayed in paste 
work, keeping it even and full, not allowing it to look skinny. 
If it is necessary to make a line narrower ,remove the part and 
try again, or else, with a small square shader dipped in 
turpentine and wiped on cloth, press along the enamel line 
where it is too broad, carefully drawing it along until of the 
required width. Any projecting points on jewels or dots 
must be corrected while the enamel is still moist. Blisters 
and bubbles in enamel are caused by too much oil being used, 
or not being properly placed and air being inside them, while 
small black specks or a dingy appearance may be due to un- 
clean brushes or palette. It is possible to model small fig- 
ures, or tiny roses of the enamels, preferably white on celadon 
grounds. In attempting this work one must remember that 
if the design is in quite high relief, and the edges are extreme- 
ly thin as compared with the body of the decoration, there is 
danger of chipping or cleaving from the china. Knowing 
this fact one can readily avert disaster by avoiding too great 
a contrast of thicknesses. AU enamels should be dried with- 
out artificial heat, as that causes them to flatten and spread 
out of shape, and before putting in the kiln they should ap- 
pear dull and dry. When in this condition there is no ob- 
jection to the piece being dried in the oven, if the painted 
parts seem to need to be hard dried before firing. Some- 
times enamels do not glaze well on a gold ground. In this 
case prepare flux as for painting and give a thin wash and re- 
fire, or better still, add a tiny bit more flux to the enamels 
before firing. It is better to fire a painted ground before 
placing the enamels, though if lightly painted it is only nec- 
essary to hard-dry. If the ground is heavily painted, or is 
dusted or ground laid, it is necessary to fire first or the 
enamels will sink slightly into the color. Ordinarily enamels 
need a hard fire, unless when used over a dusted ground in 
which case it may be lighter. 
Fine colors are offered for sale in "soft" enamels, or those 
needing only a light fire, but as these will stand but one fire 
they must be used last. 
USE OF ENAMELS. 
Enamels are used extensively in various ways. And 
while it is easily possible to overdo in the use of them, a care- 
ful study of the manner in which the Japanese apply them, 
the tact and skill with which they use white enamels to re- 
present plum blossoms decorating a mottled reddish yellow 
ground, or the skill with which they use it on the soft browns, 
greens and grays of a landscape, will prevent even a novice 
making serious blunders. Dainty touches on miniature 
draperies, ropes and festoons of tiny flowers of colored en- 
amels on heavier pieces, faint suggestions of "straws" on 
strawberries, light touches on the crest of waves in a tiny 
marine. Delft green landscapes separated from a border of 
the same by delicate scrolls, and the application of it to con- 
ventional and Indian effects, are only a few of the uses to 
which it may be successfully applied. However, a too gener- 
ous use of it wall surely make the work look coarse. An 
attractive way to finish wild oranges or fruit with similarly 
roughened skins, is to prepare colored enamels of the required 
strength, and apply to fruit with a short haired Bright 's 
bristle brush of medium size, using the enamels rather dryer 
than for jewels, and striking squarely against the part of the 
design where you wish the enamel to be. 
FLAT EN.VMELS. 
Flat enamels are those applied to a surface in such a way 
that it is entirely covered with an even coat, kept ver}^ thin, 
and only slightly heavier than ordinary colors. They possess 
a richness and intensity not obtainable by a flat wash of color. 
The different colors of these enamels are usually separated 
from each other by alhin line of black paint, or of black and 
red, or black and blue, although black enamel, made by add- 
ing one-fifth enamel to four fifths color, may be used. In 
this case make the raised line as any long line of enamel or 
paste, keeping it even and of the same blackness througliout. 
For ordinary flat enamels add about one-eighth flux 
and one-fifth color to Aufsetzweiss, then thin with lavender 
oil until it will flow smoothly from the brush, making it 
rather thin, only a little thicker than ordinary paint. If it 
seems too oily, breathe on it a few times while mixing. 
Now fill your large square shader full, so it will spread 
easily and quickly, and without "picking "into it make it as 
smooth as possible on the surface. 
Flat enamels may be blended like colors if the right 
amount of Aufsetzweiss has been used, and it is kept thin 
enough. Some people prefer turpentine as a medium l^c- 
cause it is not so liable to spread over the lines. 
For the lighter tones, add the necessary amount of color 
to the enamel, using but little color. For very dark tones, 
add a little enamel, about I, to the color. 
Conventional designs are well adapted to this style of 
decoration, and any colors suited to a given design may be 
used. 
The soft gray violet tones made by the use of Old Blue, 
or the imitation of the rare old blues seen in some of the old 
porcelains by the use of Dark Blue, Deep Purple, and a 
touch of Black, are very attractve. Slight irregularities in the 
shading are not objectionable, in fact the wavering of color in 
small conventional flowers and leaves is more pleasing than 
otherwise. 
MENDING CHINA. 
Sometimes it is desirable to mend a bit of china. To do 
this, thin some of the white enamel with turpentine, put it on 
the broken edges, carefully tie the pieces together with 
asbestos cord, and fire. Small missing portions may be re- 
placed by this method. 
There is a certain fascination about the study of enam- 
els, and a kind of satisfaction that comes from successful ex- 
periments,that will repay one for the most painstaking efforts 
possible along this line. 
GOO 
Second Prize— Anne Seymour Mundy, Coudersport, Pa. 
The subject of enamels is an important one. Used ap- 
propriately and for variety, many beautiful effects can be ob- 
tained, with care, a little practice and knowledge of propor- 
tions of color and flux to be added to the ordinar\- "Aufsetz- 
weiss" put up by Mueller and Hennig. 
Enamel in powder form is constantly advertised and 
some makes are good, but all things considered the prepared 
Aufsetzweiss is probably the most reliable. 
To seven parts Aufsetzweiss add. one part flux, soften 
with a little turpentine. If the enamel seems too oily take a 
piece of clean white silk Cone or two thicknesses of your silk 
pad will do) lay it on the palm of the left hand, take up the 
enamel with a clean palette knife, lay it on the silk, pressing 
it down, then turning it over once or twice. It will seem to dry 
