104 
HXRAMIC STUDIO 
'lip' 
FULL SIZE SECTION OF PLATE— HILDA STREET 
body of color can be traced on the piece than when a pen 
is used. In the case of plates, cups and saucers, a variety 
of pleasing and simple borders may be easily made, the 
border lines are quickly traced in lamp black with the 
assistance of the banding wheel and the spaces between 
the lines filled in with the liquid colors. I give the follow- 
ing warnings to those who are not at all familiar with 
these colors : 
Do not attempt to make a design unless you intend to 
first outline it in lamp black. 
Do not use these colors on a too porous body. The 
biscuit ware should be just short of vitrified, and should 
be not too coarse. The average ware of the white ware 
manufacturer will be found most satisfactory. 
Do not wash over a color a second time without first 
firing the piece to a dull red heat in a china or pottery kiln. 
When very deep colors are desired, they may be obtained 
by repeated coats of the same or various colors, but the 
piece must be baked after each coat or wash. 
Do not use one brush for more than one color, and 
do not allow the fingers to touch the color. It is advisable 
to use the smallest possible color pans; a teaspoonful of 
the color will be ample for the average piece. 
Do not fail to fire the finished piece to a dull red heat 
before you glaze it, even if there is no lamp black. 
Do not attempt to shade the colors or to wash one 
color into another. In the beginning be satisfied with 
flat washes. 
I have said nothing regarding the possibility of these 
colors in connection with mat glazes. They can be used 
to great advantage by those students who experience dif- 
ficulty in getting suitable stains. A white mat may be 
used and the piece painted in this one glaze and afterward 
washed over with the liquid color. Unlike the effects 
when painted on the clay or biscuit ware the colors are 
clear and strong. The light green, for instance, which is 
a very delicate emerald green, when painted on the biscuit 
ware is a strong grass green, equal in strength to that 
green produced by 3% of copper if mixed in a white mat 
glaze. Again, unlike the biscuit process, one color may 
be worked over another without first baking the piece. 
Of course, it is not necessary to bake such ware; it is fired 
in the ordinary way. 
BELT PINS (Page 92) 
Hannah B. Overbeck 
PAINT dark parts in Yellow or Blood Red, light parts 
of design in Grey for Flesh or Copenhagen Grey and 
medium parts in a mixture of the two. The light lines 
about designs are in Gold. Instead of the Red, Olive Green, 
or Hunter's Green, or Rose, or Copenhagen Blue may be 
used, and instead of Gold in the light spaces about design 
Silver or Black may be used with good effect. 
1? #> 
BOWL (Page 102) 
Martha Feller King 
DARKEST parts of design Orange Lustre, darkest Grey 
back of design, Gold. All the lightest parts of de- 
sign Yellow Lustre and Yellow Brown Lustre over remainder 
of the design. 
