42 
RERAMIC STUDIO 
not available, stain the white clay with five per cent, of 
underglaze — Van Dyke or red brown. The features are 
painted with a fine brush in underglaze chocolate. The 
color effect may be varied by clipping either in yellow, green, 
or fawn glaze. 
The second vase is schemed on the vertical basis as 
already described in former papers. The vase is sage green, 
stained with Marsching's sage — -about 10 per cent. The 
trees are dark sage, done with the same stain in higher pro- 
portion. 
The dress is pale bird's egg blue, which is got by using 
about 5 per cent, of electric or peacock underglaze blue. 
The band of foliage round the center is chocolate (U. G. 
chocolate stain). All these various colors should be painted 
flat and the details scratched or incised with a sharp steel 
tool. This tool should not be too sharp, or the effect will be 
too scratchy and the edges rough. The features in this case 
may be painted as in vase No. i. The third vase is based 
on the spiral method. It is intended to be executed on a 
vase of red terra cotta. The dress should be buff. This 
could be either done in a natural buff clay, or the white clay 
could be stained with underglaze orange. The hair and 
the occelli — or eye spots — on the dress are black, which 
can be got by adding two per cent, of oxide of cobalt, or 
three per cent, of underglaze blue to the red clay. The tree 
stems are pale sage. The white lines on the dress^are in- 
tended to be done by the tube-line process. 
The fourth vase is schemed on the horizontal basis and 
is to be stencilled. The ground of the vase is stone color 
(5 per cent, chocolate U. G. added to white clay) and the 
dress is pale lilac, which is got by the admixture of a small 
proportion (about 2^ per cent.) of cobalt oxide to the white 
clay. The hair and waves at bottom are in chocolate. 
Vase No. 5 is dark peacock blue. This color can be 
obtained by staining the clay with underglaze peacock, 
about 15 per cent, or 8 per cent, of oxide of chrome and 
4 per cent, cobalt. 
The wings and lower part of dress are pale sage. The 
hair buff clay, and halo cream. The flesh is pale red, and 
the face and hands are pencilled under glaze dark brown. 
The lines on the wings may be either scratched, or tube- 
lined in white. 
No. 6 is intended for a modelled vase. It may be either 
dipped in a colored glaze, in which the effect is given by the 
darker shades of glaze settling in the hollows, or the modelling 
may be lightly tinted and the whole dipped in a clear glaze. 
If tinted the hood and ribbons should be done in pale blue 
or clear white, the hair red brown, and the background 
peacock blue. 
Vase No. 7 is a painted vase. The draperies are painted 
in various tones of blue, ranging from dark blue to white. 
About ten or a dozen gradations should be mixed on the 
palette, and the dark tones should be painted first. Flat 
brushes must be used, and while the shadows should be 
applied in a fluid state, but firmly, the lights must be 
put on thick, the brush flattened, and used chisel-wise — with 
a little bit of stiffish slip scooped up on the end of the brush 
which should be squeezed first between the finger and thumb 
until nearly dry; by working the brush obliquely, the slip 
can be put on in little ridges, which are very useful when the 
vase is glazed in a colored glaze, which runs off the edges 
of these ridges, giving sharp but soft lights. The stems of 
the trees are done in pale sage, and the background behind 
trees in underglaze black mixed with an equal quantity of 
slip. The ground which is intended to represent snow 
should be done in white slip, mixed with a very small 
quantity of dove U. G., and the shadows the same color 
deepened by the admixture of a small quantity of U. G. 
chocolate. The high lights are pure white. The falling 
snowflakes are spots of fine white slip, small but very thick 
and high. The whole is intended to be glazed in Faron 
glaze, which can be mixed by putting two parts of clear 
glaze to one part of Rockingham glaze, or if this is not avail- 
able, a stain can be prepared for the clear glaze of 2', per 
cent, of manganese oxide. 
Vase No. 8 is a suggestion for pate-sur-pate decoration. 
By this process the figure is painted in white slip, and the 
reliefs added by fresh coats of slip, until a modelled effect is 
attained. As the pencillings cannot give sufficient smooth- 
ness of surface, a steel scraping tool is employed to clean up 
the surface, and accentuate the contours. The vase is 
terra cotta clay, with a thin film of sage green, sponged, 
pencilled, or dipped on the surface. 
The web may either be scratched or tube-lined in 
black clay. The tiles are all hand made, as the dust tiles 
made in the die are difficult to decorate in the clay state. 
No 1 is a suggestion for a modelled tile. The head of 
Medusa is not a pleasant motif, but it is selected because 
the scales on the snakes and the wings at the sides of the 
head give the opportunity for sharp detail which is so effect- 
ive under a colored glaze. 
The background is deeply countersunk and roughed 
with a chisel tool. Any deep toned glaze would suit this 
tile, but one of the most effective tints would be old gold, 
which can be made by adding six per cent, of red oxide of 
iron and four per cent, black oxide of copper to the clear 
glaze. 
The second tile is intended to be stencilled and finished 
with the brush. It is on different tones of buff, cane, cream, 
and ivory, with a deep russet background, which can be 
made by mixing 12% Underglaze red brown with the slip. 
If a smooth surface is desired, the tiles should be dipped in 
the colored slip. The color effect may be varied by the 
superimposition of a colored glaze. 
In the third tile the head of a Dutch Burgher of the 
17th Century is given. Subjects with strong light and 
shadow and rich mellow coloring are best suited for natural- 
istic painting in colored slips. In this case the ground should 
be sponged in graduated tones of red brown, as the slightly 
roughened texture will be found of great value both during 
the process of execution and in the ultimate effect when 
glazed. The hat is blue and black, the blue being a mix- 
ture of equal parts of underglazed mat blue and white slip. 
This color is only to be used in the lightest parts of the hat, 
and the other tones are graduated between this and pine 
black. The coat is done in chocolate and red clay, in the 
same manner. The ruff is white and dove grey, and the 
beard chocolate with the lighter parts chocolate softened 
by the admixture of a little dove slip. 
The flesh is painted in gradations of red clay and white, 
with the shadows in dark brown. It should be glazed in 
deep yellow glaze applied pretty thickly. While this 
method of naturalistic painting is unsuited for general 
keramic decoration, it is an admirable medium, on account 
of its permanence, for portraits, and for subjects which are 
frankly intended to be examples of painting and art decora- 
tion. It is legitimate as oil painting, and like oil painting 
has its own peculiar qualities — but it is painting with ker- 
amic materials as a medium, rather than keramic decoration. 
Tile No. 4 is a Sgraffito tile. It should be terra cotta, 
or dipped with a red brown ground, pretty thickly. The 
helmet is pale blue grey, and the armour and spear the same 
