HlFramic studio 
Iridescent Rose is a deep green blue, is improved bv 
using Light Green over it. 
Orange, thinly applied and well fired, is very satisfac- 
tory. Repeated coats will produce a deep tone. If used 
over iridescent rose it makes a fine bronze, while it pro- 
duces scarlet over ruby, and makes a green appear yellower. 
Yellow Brown is a pretty, soft color, harmonizing 
with Yellow Ochre and such contrasting colors as Green 
or Rose. Gold overlay designs are especially effective 
on this color. 
Platinum has an effect like a thin coat of gray, and 
combines with nearly every color. 
Black is particularly attractive with raised paste and 
jewels, as it has a golden gleam. It usually requires two 
or three coats. 
Yellow may be made dark or light as desired. With 
more than one coat it becomes iridescent and resembles a 
silver yellow. Many colors are improved by having a 
thin coat of yellow. To produce an oxidized silver effect 
use yellow over steel blue. 
Silver is a cold, heavy color, but is effective with a 
coat of ruby or orange over it. 
Bhie Gray is a fine blue if several coats are used, 
thinly applied is an excellent neutral color. 
Iridescent, Mother of Pearl and Opal are all attractive 
if successfully used, not always reliable as to uniformity 
of color, but possessing fine wearing qualities. Opals 
vary according to the make, from a delicate pearly shell 
like appearance, .to a grayish yellow satiny tone admirably 
suited for combination with greens. 
DRYING AND FIRING. 
As soon as a piece is painted it should be immediately 
dried by a moderate fire, but not over dried as a fierce 
heat might injure it. It is advisable to put a painted 
piece on a plate or asbestos mat before putting into the 
oven or over an oil stove to dry, then it can be lifted from 
the fire without injury to it. As long as it is warm it will 
be sticky, but when cool will be hard and dry. 
Moisture on the china either before or after paint- 
ing, dust, lint or finger marks will appear -after firing irt 
the form of spots and blemishes, genuine "thorns in the 
side" to the lustre painter. 
Poor ventilation of the kiln may also cause spotting 
through dampness, and occasional spotting comes from 
a too liberal use of turpentine in the outlining, where the 
outline is not fired before the lustre is applied. Smoke 
in the kiln will ruin the brilliancy of colors. 
It is well to handle any unfired lustres with a silk cloth 
even if hard dried, and the piece should be wiped carefully 
before firing, with the same, lest a trace of dust may have 
adhered to it. 
Lustres usually require an ordinary hard fire, though 
some of them, noticeably orange and ruby, need to be 
fired extra hard. If a color shows mdications of rubbing 
off after firing, put on another coat of the same, and fire 
again. When orange, which must not be heavily applied 
rubs off, a thin coat of yellow will correct the mischief. 
Most lustres when too heavily painted, come oft' in 
the form of a flour or dust, or, in the case of orange, cause 
it to crackle. 
A soft fire will develop the color of most lustres, but 
a hard fire is necessary to secure good wearing qualities, 
so lustres should be placed near the bottom of rhe kiln 
except when on Belleek. If underfired, lustres will lack the 
pure clear tones sought for, and be cloudy in appearance. 
Lustres can be fired with other colors, but it is not 
advisable to fire them with a large quantity of liquid 
bright gold on account of the moisture arising from the 
gold. 
REMOVAL OF FIRED LUSTRE. 
If accidents occur which necessitate the removal 
of fired lustre. Aqua Regia may be used without taking 
into the lungs any of the fumes, which are injurious, or 
the common "eraser." 
The worker in lustres must learn to honestly crit- 
icise his own work, studying not only the manner in which 
lustres are applied, but whether the design used is suited 
to the article to be decorated, and the colors harmonious. 
The individuality of the artist may be developed, 
and inspiration gained, by a thorough study of lustres. 
GOO 
Second Prize — Miss Sydney Scott Lewis, Georgetown, Ky. 
Lustre colors come put up in vials like liquid bright 
gold. They are nearly all before firing a yellow brown 
color, a few are grey. It is best to use them direct from 
the bottle unless they are too thick, in that case take 
out a little and thin it with lavender oil or the essence, 
the former preferred, never use turpentine. 
One of the most essential things for good use of china 
painting materials is cleanliness, especially is this so in 
the use of lustres, every speck of dust will show, and is fatal 
to a perfect result. One should wear when using them, 
a cotton gown. Brushes should be perfectly clean and 
fluffy. It is not necessary to keep a separate brush for 
every color. But it is well to have brushes to be used for 
lustres only and separate ones for yellow and rose. Vials 
should be tightly corked when not using,?as the liquid 
evaporates quickly and it insures from dust. Never 
change a cork from one vial to another as the slightest 
contact of one unfired color with another is liable to spoil 
the whole vial. Have the piece of china perfectly clean, 
just before putting on the lustre wipe off with alcohol 
and be sure the china is not damp. 
If a smooth even light tint is desired the color is put 
on with a large square shader, as rapidly as possible, then 
padded with a silk pad until smooth. If a large surface 
is to be covered one must work very rapidly as the liquid 
dries very fast. Heating the china before beginning will 
help to keep the color open, also thinning the lustre with 
lavender oil and some times breathing on it will help, 
if it begins to get sticky and dry before it is even. If it 
looks splotchy or pulls up from the china take it off and 
do it over, you can not patch unfired, dry lustre. And 
never depend on the firing to remedy a badly put on lustre 
tint. 
Lustre is especially good on china that is fluted, or 
has broken surfaces and indentations. Do not try to pad 
the lustre in the indentations but let it stay as it goes on, 
it adds to the interest and brilliancy. 
Lustre is very effective put in with a large square 
shader and let to run as it will, thick here, thin there, 
especiall}^ so when the surface is not a large plain one, 
and when a dark metallic vibrating color is desired. 
Lustre can be put over color and color over lustre, but 
it is best to have the lustre, or color first fired. Lustre 
should never be put over a heav}^ tint or a dusted on color. 
If put on over a heavy outline of paint the paint will chip 
off. So in outlining in color on lustre, it is best to put 
in a thin outline of color mixed with sugar and water. 
