46 
HXRAMIC STUDIO 
; 
. -i 
A COURSE IN CHINA DECORATION 
By JETTA EHLERS 
(Courtesy of the American Woman's League) 
CONTINUED 
FOURTH LESSON— OVERGLAZE PAINTING 
THERE are several ways of applying a solid tint to 
china. One of these we studied in the first lesson. An- 
other method known as "ground-laying" is the subject of 
this lesson. It is a difficult thing to put on with the brush, 
an even toned dark background; if the color is uneven, 
being heavy in some places, the heavy spots are liable to 
chip off after it is fired. This is due to the fact that there 
is too much color for the glaze of the china to take up. 
Usually when a dark rich background is desired, ground- 
laying is the process employed. 
Colors laid or put on in this way have a very high bril- 
liant glaze and are very beautiful used in combination with 
gold, lusters or enamel. It is possible to get effects very 
like underglaze by groundlaying a background, and paint- 
ing upon this after it has been fired. Gold, raised paste, 
or enamels cannot be used over ground-laid color; as all 
colors used in this way are more or less heavy in appearance 
they are unsuited to delicate china for the table. Experi- 
ence has proved that, while we may use with reserve bril- 
liant color on table ware, the most satisfactory is that which 
is dainty rather than heavy in color. Most table ware is 
used on white linen and that fact should be kept in mind 
in planning your , decoration for such pieces. There are 
objects whose very form suggests strong, rich color, such as 
tankards, steins, jardinieres, etc. Here again is the question 
of "fitness to purpose." Rich coloring and strong bold 
designs are called for here. Ground-laid color is to be 
avoided on tableware, save as it is used in bands or other 
simple ways in combination with gold or enamels, etc., and 
then used sparingly. 
If the subject of tableware seems unduly emphasized 
in these lessons, it is because of the belief in the fact that 
American women decorators have here a great opportunity. 
In the stores in the great cities where these things are 
to be had, there is surprisingly little offered which is simple 
and good. 
Most of the shapes are poor to begin with, with handles 
that are not practical, spouts that do not pour well, and the 
china often made hideous with all sorts of knobs and bumps. 
These are not only ugly but will probably chip off as soon 
as used. 
By working to create an appreciation of what is good 
along these lines, the American women will bring about a 
demand for them. This demand will be met by the potters. 
This seems a digression from our lesson subject ; but like the 
old Baptist preacher who never omitted, even when preach- 
ing on "Adam," to make a few remarks upon the question 
of "immersion," these lessons will bring up almost as often 
the question of good table ware. 
To return to the subject of ground-laying, a knowledge 
of how to properly do this is part of the equipment of every 
china painter. Study each step of the work. Notice the 
differences in the manner of applying this sort of a tint and 
the tinting of the first lesson. Aim to have the little vase 
when finished as perfect a piece in every detail as you can 
make it. 
Subject — Ground-laying. 
Materials 
One bottle of English grounding oil. 
Large square shader. 
India ink. 
India ink brush. 
Dark Green, Yellow Green, Black. Colors to be used in 
powder form and not mixed with medium. 
China to be Decorated 
Cylindrical flower vase. 
Form suggested in illustration. 
Height 6| inches. 
Price about 45 cents. 
CD 
See that the vase is perfectly clean; price marks left on 
the bottom sometimes fire in, if the marking fluid contains 
some mineral element. Divide the vase carefully into 
four parts. A division of four is not a happy one on a plate, 
but may be used on a vase safely, the eye not taking in all 
four parts at once as is the case with the plate. 
A very convenient way to do this, if you have no divider, 
is to use a narrow strip of rather heavy paper. Place this 
around the vase, bringing the ends carefully together; then 
