KERAMIC STUDIO 
21 
BOWL, MOUNTAIN LAUREL (Page 9) 
Treatment by Jessie Bard 
TRACE in design. Paint Fry's special oil over all dark 
parts of design and bands. When dry dust with 
mixture of two parts Copenhagen Blue, one part Deep Blue 
Green, one part Banding Blue, one part Pearl Grey, clean 
edges well and fire. 
Second Fire — Oil all over medallion and dust with 
Pearl Grey and just a touch of dry Blue Green. 
SHOP NOTE 
We have a letter from L. Reusche & Co., stating that 
they are about to remove from their present address at 6 
Park Place to an attractive location at 12 Barclay St., a 
few doors from Broadway. This places them right among 
the white china importers. 
DUQUESNE CERAMIC CLUB 
Miss Myra Boyd was re-elected president of the 
Duquesne Ceramic club, the other officers elected at 
the same time being the first vice-president, Miss Marion 
Cowan; second vice-president, Mrs. Albert Pettit; secretary, 
Mrs. L. S. Price; treasurer, Mrs. William C. Moreland; di- 
rectors, Mrs. Ray Motz, Miss Elizabeth Seroggs, Mrs. Robert 
I. Dadds, Mrs. Ida Day Supman and Miss Henrietta Agner. 
The club was entertained at its annual meeting by 
Mrs. Moreland in her home in Wellesley Ave. Among 
the interesting reports given was that of the design class 
whose active working members show big improvement 
during the past year in the character of their work, es- 
pecially in design. The club hopes to have its annual 
exhibition next fall during the first week in November 
instead of the last. 
•f * 
ANSWERS TO CORRESPONDENTS. 
Mrs. H. F. — How to enlarge and apply a design: Divide your piece of 
china into as many sections as you think it should have, or if it is a border 
design the border should be in good proportion to the whole. In enlarging 
design for china, care should be taken not to make the units too large or they 
will look coarse; china should be daintily decorated except on large pieces 
such as jardinieres, large vases, etc. It is sometimes necessary to add units, 
bands, etc, to the design to fill in rather than to spread out a design to make 
it fill a space. Let us use the bowl with mountain laurel, by Miss Sharrard, 
as an example. You may either do your work right on the piece of china or 
mark the space on a piece of paper and work on that. Decide how many of 
the figures you want on your bowl. If the bowl is large you might feel that five 
would be necessary. The figures should not be too far apart or it will look 
spotted. Or if the bowl is small three may be enough. Mark off on the bowl 
the length of the medallion that you wish. You will notice that the medallion 
is almost as wide as it is long. Drawing a square and placing the design in 
that would probably make it easier for one who has not studied designing. 
Draw a - line through center of square. It will be necessary to only enlarge 
one-half of the design, the other half can be traced in. Draw a square around 
the original study also ; it will help you to make comparisons. Sketch roughly 
the boundary of the design by watching the directions the lines take from 
the square in the original. Now begin with the center of interest, which is 
the blossom in this design. By using a small piece of paper for measuring, 
find out what part of the blossom comes in the center of the design, then mark 
on your measuring paper the length of the blossom and see what proportion 
it is to the length of the design. You will find it is not quite one-third of the 
length, so get that placed in your design. Now see what proportion the width 
of the blossom is to its length ; it is about four-fifths as wide. Measure it off 
on your design, placing a mark where the width should be. You now have 
the size of the flower and it is a simple matter to draw the lines. Be sure to 
keep the character of the flowers by having the curves take the same angle. 
If you are doubtful about the angle of the curve, draw a straight line at the 
side of the flower in both your design and the original and you will see just 
what relation the curve takes to the straight lint. Always watch tl 
portions. Notice that the outer petal is one-third the size of the center petal. 
As much attention should be paid to the spaces and forms the background 
makes as to the design. Draw your small blossom next. Watch the space 
between it and the dividing line in the center, also the space between the two 
blossomsand the angle of the blossom. Now fill in your stems andbud. Notice 
that the bud comes just to the center of the large blossom. Decide on the 
width of the outer leaf and draw it in carefully. True up all your lines very 
carefully either with pencil or India ink. Make a cartful tracing of one-half 
of the design, reverse it and trace in the other half. 
Mrs. E. Le S. — It is not proper to put a monogram with the realistic but 
would be all right with the conventional. China having any decoration on at 
all, whether painted by hand or stamped on, is decorated china, so that all hand 
painted china is decorated china but all decorated china is not hand painted. 
S. READER. — Use about one-eighth part flux to Fry's Pompadour for 
tinting. 
Miss B. N. — For list of china painting materials see Miss Ehler's first 
lesson in china painting in the March and April numbers of Keramic Stddio. 
The Seiji or Celadon ware is carried by Marshall Field Co. of Chicago, also 
W. A. Maurer, Council Bluffs, la., Wanamaker's in New York, and can also 
be found in some of the Japanese stores in the larger cities. 
Mrs. D. C. B. — The belleek vase, which is too tall for your kiln, can be 
fired by leaning it just as much as it requires^to get it in the kiln so that it will 
just touch at the rim on the top; care must be taken so it stands firmly. A 
small stilt can be put on each side of it at the bottom so it can not roll. 
Mrs. M. O. L. — Glass is fired at a very low temperature, very much less 
than a rose heat ; hardly allow the kiln to become red all over. 
Mrs. L. A. S. — Mix enough oil of tar with the silver in powder form so 
that it barely holds together and then add turpentine. Gold can also be had 
in powder form and is mixed the same way, but most people prefer to use it 
ready mixed, the powder is usually a purer gold, however. 
J. L. D. — Most people use the mat colors now, as they are very satis- 
factory, instead of the process you speak of. Oil the surface as in the direc- 
tions given in the lesson on oiling by Miss Bard on page 269 of the April num- 
ber of the Keramic Studio and dust with the mat colors, which can be ob- 
tained from any art dealer. The dark blue is Mason's Mat Wedgwood. 
Mrs. M. E. M. — The answer to J. L. D. in this column also answers your 
question. 
H. M. H. — If your gold is not underfired you must be using unfiuxed 
gold ; your slabs must have become mixed in some way. Try a new box and 
see if it does not come out all right. You may come across a box occasionally 
that has been marked wrong. Gold always makes a piece more attractive 
and if it is put on well and gone over twice it wears very well. 
B. W. R. — Your trouble must be that the silver was put on too heavy; it 
should be put on twice with a very thin wash. Try firing very hard and 
burnish as well as you can and then put a thin wash of Hasburg's white gold 
over it; you will find this a very satisfactory silver. Carnation and Pompa- 
dour come out a good deal like rose if used thin. The color did not affect the 
silver, but silver sometimes affects colors touching it. 
L. M. D. — You will find the banding wheel indispensable in your con- 
ventional work. If you have the small table wheel place it on a chair or any- 
thing to bring it about on a level with the table. Place your plate as nearly 
in the center of the wheel as possible, rest the right arm comfortably on the 
table, revolve the wheel with the left hand on the pivot of the wheel, hold the 
second finger of the right hand perfectly steady at the edge of the plate and 
while revolving see that the plate is the same distance from your finger all the 
way round. It is very necessary to have the plate perfectly centered. Use a 
long-haired brush that is made especially for banding. Fill the brush with the 
desired paint and holding it over the band revolve the wheel under it. The 
brush must be held perfectly still. The art in banding is to hold the hand 
very steady. It will take a little practice at first to be able to use the wheel. 
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Accurate outlines ready for tinting for 
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415 East 9th St., • Kansas City, Mo. 
F. J. 11. Abendroth, 
