IIERAMIC STUDIO 
i6s 
No. 3. GERTRUDE ROBERT SMITH 
No. 3. By Gertrude Robert Smith. A wall hanging 
of dark red Razee cloth; the motif is the china ball tree in 
dark blue with light green stitchery for the body of the tree 
This effect is extremely rich and powerful, and much darker 
than the photograph would lead you to expect. 
No. 4. By Sally Holt. A table scarf of white home 
spun linen, with tobacco plant and flower as the motif. 
The color is green and golden- pink in couched outline. The 
strip is about 18 inches wide and 2 yards long. The other 
end of the scarf has a similar design on the other side of the 
table. 
No. 4. SALLY HOLT 
ANSWERS TO INQUIRIES 
J. E. — The last firing should leave enough polish on the enamel, but finely 
powdered pumice No. 00 made into a thick paste is used for polishing . 
If the surface is flat a wooden wheel can be used, but if there are crevices, a felt 
wheel will reach them better. 
For deep cavities a pointed spindle of wood or felt, should be used. Tripoli 
and oil wUl polish enamel also. 
AA". K. — To get a green finish on brass, mix powdered acetate of copper 
and carbonate of copper well together until you get the right tint. Mix this 
with a white lacquer and apply to the brass with a soft brush. When this has 
thoroughly dried apply a thin coating of white lacquer over the whole. 
Statue — The following method is highly commended by Lehner for 
mending statuary. The broken edges are washed with water until more can 
not be absorbed, and the surface remains wet. Then stir fresh calcined white 
plnstcr of Paris vviih wntei (o a thin paste, continue tostiriintil this is cold. 
Then rapidly paint the paste on the broken edges, pressing the pieces together 
until they set liard. Plaster of Paris and alum combined with the fine powder 
of calcined glass, form a very hard and durable cement for all mending of stone 
work. 
B. T. — A filler for coarse grained wood is often made of soft wa.x Hour and 
xarnisli. 
GOOSEBERRY PLATE (Sapplement) 
Mabel C. Dibble 
vSketch in the design. Tint small panels in clouded 
effect, using Dark Blue, Light Violet of Gold and Bruns- 
wick Black. Wipe out berries and leaves, outline all of 
design in black, Ivory Black |, Dark Blue ;',. Outline 
panels and bands with heavy line of same using only turpen- 
tine, no oil fire. For second fire tint white panels and centre 
of plate with Chinese Yellow very light. Leaves in light 
panels, Apple Green, Brown Green, little Brunswick Black, 
1 Aufsetzweiss, leaves in purple panel, Apple Green, Bruns- 
wick Black added to mixed enamel, J Hancock's Hard White 
Enamel, | Aufsetzweiss. Purple berries. Dark Blue, Light 
Violet of Gold, Brown No. 4 or 17 and Brunswick Black. 
Use no enamel. Paint them in, using a little tinting oil, 
shading quite heavily. For light berries, shade the mixed 
enamel with Apple Green and Brunswick until a soft grey, 
float the color on, and when dry wash lightly over parts of 
berries with Violet of Iron. Vein leaves with black, also 
purple berries, scratch out white lines, vein the light berries 
with brown and black tuixed, and add prickles in black. 
The little dashes in narrow panels arc of the purple mixture. 
ANSWERS TO CORRESPONDENTS. 
Miss A. K. — For your charcoal kiln it is absolutely necessary that you 
have a chinmey, the higher the better, and a sheet iron hood like an inverted fun- 
nel with a pipe going into the chimney and supported by iron braces from the 
roof. But why do you prefer a charcoal kiln when oil is easier, better and 
cheaper as a fuel. If you must use charcoal be sure and have your funnel 
wider than the diameter of the outside of kiln and high enough above it to 
admit of putting on coal easily. Sometimes a sheet iron drop is put on the 
funnel, hanging straight down all around except for a space in front. The 
charcoal has then to be poured on top of kiln and distributed with a poker. 
I'o protect yourself from sparks, an oil cloth apron is useful. The sheet of tin 
would be in the way. Only powder colors can be used for dusting on. You 
can, however, paint with the La Croix Colors and when the colors are "tacky", 
dust the powder color on by taking sonic on a palette knife, dropping it on the 
|)ainting and pushing it over tlie surface witii a pad of cotton. For regular 
(histed grounds however, the regular grounding oil is necessary. This is first 
liainled on, tlien |)added until even and tacky. Then color is ap|)lied as 
above until the oil will alisurb no more color and the surface looks dry. 
A. G. C. — Bm-nishing sand is used wet and applied with a soft rag or cot- 
ton. 
M. C. A. — We only know of one tile wliich comes for decorating and that 
is white 6x6. If you wish to decorate tiles already colored you had better 
write to the manufacturer for sizes and colors as you will have to use all of one 
make, and each factory turns out special sizes and glazes. You will find 
directions for making gold from gold foil, such as dentists use, in Keramic 
Studio, September, 1901. Never having put up gold we 'can not tell how 
many boxes can be made from an ounce. You will have to judge for your- 
self how much will leave a fair profit. 
J. E.H P. — To dust powder colors over painted grounds when partially dry, 
take the powder on the palette knife and drop on the part to be dusted, then 
take a clean brush and distribute it evenly until the painting will absorb no 
more, a piece of surgeon's cotton serves this purpose very well; the same 
procesF can be used on light grounds by allowing the painting to become 
still dryer, before dusting. 
R. M. — The "reddish glow" on the mountain asli pitcher is not on the 
original. It is very diflicult to reproduce a round piece of china in colors as 
the shadows and lights affect the color. However, if you would like to have 
that effect, the use of a little yellow red in the dusting would produce it, 
K. M. A. — AVill be answered in December magazine. 
