2l6 
RERAMIC STUDIO 
bly prove highly satisfactory, though some claim success 
through the use of a low grade of ware. 
Lustres do not unite with the glazes of the china, 
but, like gold, remain on the surface. Consequently they 
are liable to wear off and so may not be suitable for a 
complete dinner service, though they may be safely re- 
commended for fish or fruit sets. 
MATERIALS. 
Having selected the china, and being supplied with 
some large flat sables and square shaders, some soft 
cotton and old silk for dabbers, pieces of lintless old mus- 
lin cut into convenient size, lavender oil or essence, al- 
cohol, and such lustres as are suitable for the design to 
be attempted, one is ready for work. 
Every thing should be placed on a table in front of 
the worker in the most convenient way possible. The 
dabber must be made and placed where it can be quickly 
taken up, and the china placed where it will be most con- 
venient and will allow plenty of room for work. Be sure 
that the lustres are in a box or some other receptacle where 
they will not be easily upset. In no other line of painting 
is swiftness so essential as in lustre work. Make every 
movement count. 
Be sure the china is absolutel}^ clean. Any finger 
marks, dust, lint or moisture will bring a lustre painter 
to repentance swiftly and surely. Wipe off the piece care- 
fully with a cloth dampened in alcohol, then rub over it 
a piece of silk to remove any possible particles of lint. 
See that the brushes are in proper condition. Failure 
or success in the manipulation of lustres depends much 
upon the brushes, consequently they are always to receive 
proper care. Any brushes may be used, new or old, pro- 
vided all trace of gold or color has been removed. If 
the faintest trace remains it will certainly ruin the next 
color used. 
Neither is it necessary to keep a separate brush for 
each color of lustre. Wash thoroughly in alcohol till 
absolutely clean, and dry by brushing lightly back and 
forth upon a cloth. This will take but a few moments 
and will insure dry, clean brushes, which are an absolute 
necessity. 
By cleaning in this way they may be used with impu- 
nity first in one color, then in another. If lustres are un- 
satisfactory, the colors being changed on account of having 
used a damp brush, a second coat may cover the defect, 
but of course the tone will be considerably darker. At 
the close of a day's work the brushes may be cleaned with 
the alcohol, then washed carefully with soap and water 
which will leave them in as pliable a condition as when 
new, after which they may be flattened into shape, and 
placed away from dust. Alcohol if allowed to remain in 
the brushes, will cause them to grow brittle and break. 
APPLICATION. 
Lustres may be put on in two ways. First, with the 
brush, with or without padding, and second, by the use 
of the dabber alone. 
Lustres are usually applied to any ordinary surface 
with a brush, and are only padded when an even tone is 
desired. In covering handles and similar surfaces, use a 
brush of a size suited to the space to be covered; that is, 
as large as can be conveniently used. Make no uncertain 
strokes. A prominent teacher once said, "spend three- 
fourths of your time studying what you want to do, and 
the remainder in doing it." The experimenter in lustres 
will not need to have the application made for him. 
In making a plate rim, begin by filling the brush, 
and with great freedom of movement put on stroke after 
stroke, carefully overlapping them so that an even tint 
is produced, and so rapidly that the place where the tint- 
ing begins is not dry before the end is reached. If it dries 
a hard heavy line is formed, which it is not possible to re- 
move by picking into it. It is better to take it off and 
begin again if this occurs. If it becomes necessary to re- 
move lustre, either a surface of some extent, or some small 
unevenness along an edge, do so with a cloth dampened 
with alcohol, not turpentine, as the latter will cause the 
lustre to crawl and will create a blemish which cannot 
often be remedied. Turpentine is the worst enemy of 
lustre, next to dust. When lustre is removed, see that 
not the slightest trace remains on the china, as the least 
particle will surely show when the piece is fired. 
It is sometimes easier to begin a plate rim, and after 
painting a short distance in one direction, to go back to 
where it began and paint the opposite way, repeating un- 
til the rim is covered. If a padded finish is desired the 
dabber may be used as the color is applied. In applying 
lustres do not allow bubbles to form but use the brush 
with positive, steady strokes, and be sure, before put- 
ting the work to dry, that no dust or hairs are adhering 
to it. These can sometimes be removed by dragging a 
clean brush into it. 
The brush may be used on all small surfaces and bor- 
ders without padding, unless a very delicate tint is desired, 
in which case a dabber may be used. 
Sometimes the brush work will look clouded before 
firing, but this uneven tone is no particular objection, 
especially in some dark color, as the kiln heat wiU proba- 
bly give it a smooth appearance. 
For a cup lining, pour six or eight drops of lustre 
into the cup bottom, and rapidly cover by aid of a brush. 
If a light tint is desired, and the cup bottom is small, a 
little dabber fastened to a stick may be used until an even 
tint is secured. This prevents the hand from injuring 
the lustre. 
For the lining of an orange or nut bowl, or any sim- 
ilar surface, pour in a sufficient amount of lustre to cover 
the part to be decorated, and with a large rather loosely 
made dabber dip into the lustre, and beginning at the cen- 
ter, rapidly cover the entire surface with a rotary motion, 
then with light padding go over the whole until the tint is 
perfectly even. Sometimes it is necessary to use a second 
dapper if the surface to be covered is large. The cotton 
used for the dabber should be covered with two thick- 
nesses of silk free from wrinkle or crease. If the silk is 
not thick the cotton is liable to be drawn through into the 
lustre and mar it. 
Repeated applications of lustre, thin, with firings be- 
tween, are much better than one heavy coat. 
As lustres dry so rapidly it is often advisable to add 
lavender oil or essence before applying to large surfaces, 
even when the lustre is moderately thin, so they will keep 
moist and open while the padding is being done. If not 
padded the additional medium will do no harm, but will 
enable the brush marks to melt together. 
Padding will lighten the tint, but a second, or even a 
third or fourth coat will be no objection, as each additional 
application, if thin, only serves to enhance its beauty by 
producing superb color effects, and a remarkable richness 
and depth of tone, especially where two or more colors are 
judiciously combined. 
A color may be applied over itself in a soUd tone, or a 
