90 
ftERAMIC STUDIO 
A COURSE IN CHINA DECORATION 
By JETTA EHLERS 
(Courtesy of the American Woman s League) 
(continued) 
SIXTH LESSON— OVERGLAZE PAINTING 
THE term enamel is applied to a class of colors which 
stand up more or less in relief on china. The enamel 
body with which various colors are mixed is somewhat of 
the nature of glass, but is more opaque. The method to 
be used in this lesson is known as "flat enamel." This 
effect is produced by combining the ordinary mineral colors 
with certain proportions of body enamel; this mixture is 
then thinned with turpentine and floated on the surface of 
the china. When fired, the color has a slightly raised 
effect, and has great richness and brilliance in addition to 
a high glaze. It is usually applied for one firing only, the 
piece being completely carried through in every detail 
before the enamel is placed. It is sometimes used in high 
relief to imitate jewels. This is not practical for table- 
ware, as after a little usage the enamel will chip off and 
the piece become disfigured. The chief beauty of "flat" 
enamel is in the richness of color. It has a body and qual- 
ity impossible in ordinary color laid with the brush. 
Used in combination with gold, in touches of rich, 
brilliant color, it is very beautiful. It being a rather choice 
decoration, keep it for special things. Where perhaps it 
would pall on one's taste if used indiscriminately, it would 
be perfectly charming used for certain pieces. 
A fine little bowl for salad dressing, perhaps the salad 
bowl itself, honey jars, cream jugs, the high, slender bon 
bon dishes, in fact, any of the countless accessories of the 
well appointed table. Every housekeeper joys in the 
possession of such pieces. This sort of decoration is par- 
ticularly appropriate for pieces which are purely ornamen- 
tal in character such as vases, wall plaques, etc. In the 
Japanese ware some interesting little incense burners are 
to be had which make charming cabinet pieces. One 
should beware of using enamel profusely on table service. 
Flat color is much more practical. Enamel is sometimes 
used to accent the high lights in jewels, or the intricate 
pattern of lace and other details in figure painting. Also, 
the high lights in naturalistic painting. This is all in rather 
questionable taste, and is therefore to be avoided. It has 
so often been used to gloss over the failure to obtain a 
result in a legitimate way that its use has fallen into dis- 
favor. 
The design for this lesson is derived from Chinese or- 
nament. The study of historic ornament is one of the best 
foundations the ceramic worker can have. The thorough 
knowledge of it is an education in arrangement and color. 
The old Chinese were masters of ceramics, and the modern 
ceramist has much to learn from the study of their art. 
For color, for massing of light and dark, and in beau- 
tiful division of spaces, they have never been excelled. 
The student who is near an art museum is advised to 
study carefully the oriental porcelains. In some of the 
libraries there are books on historic ornament. One of 
the most famous of these is Owen Jones' "Grammar of 
Ornament." As this is a valuable work it is not usually 
loaned, but if you are so fortunate as to have access to one, 
provide yourself with pencil and tracing paper, and trace 
some of the things which attract you. Make note also of 
the color schemes. 
Several years ago the Keramic Studio had a series 
of finely illustrated articles on historic ornament. Prob- 
ably some of these back numbers may still be obtained, 
and would be of the greatest assistance to the student. 
Another source of great inspiration is the study of 
the old textiles, the Coptic being specially rich in sugges- 
tion. The worker who wishes to progress must study 
constantly. 
If far removed from all the big centers of affairs, do 
not despair. You will find, in any of the Art Magazines, 
advertisements of many helps to study and you will do 
well to send for catalogues or for information as to certain 
lines of text -books, materials, etc. Remember that all 
the reading and study you do is slowly but surely develop- 
ing your appreciation of beauty and training your judg- 
ment. 
MATERIALS 
I Tube Dresden Aufsetzweiss (Relief White). 
I Tube Dresden Flux. 
Lavender Oil. 
Clean Turpentine. 
Red Sable outline brush. 
China pencil. 
Plate divider and materials for tracing. 
Drawing pen and sugar and water for outlining. 
Some very small silk pads. 
colors : 
Yellow Brown. Banding Blue. 
Albert Yellow. Black. 
Carnation. Yellow Green. 
Violet No. 2. 
PIECE OF CHINA TO BE DECORATED: 
A round tea tile (teapot stand) with perfectly plain 
I inch rim. No modelling; size 6 inches or very nearly. 
Price 20 cts. 
Divide the tile carefully into ten divisions. Trace the 
design, being careful to preserve each characteristic of the 
different forms. Many workers, by neglecting to be ac- 
curate in this respect, entirely lose the original idea of the 
designer. A tiny bit off here and there will result in a 
