RERAMIC STUDIO 
^5 
1Z1 
NJ: 
CHARLES BABCOCK 
ity be rather disappointed in it. The effect of the first 
painting is rather thin and crude. 
One coat of lustre is not very rich and so we will give 
the jar a second painting. If the Yellow Brown has come 
out a rich soft tone, rather light, it will not need a second 
coat. Lustres vary greatly in the different makes as before 
remarked, Yellow Brown in some instances being almost 
orange while in others it is a warm light brownish yellow. 
It is just that quality we want in this design. 
If the tone of your first coat is very thin and poor with 
only a suggestion of yellow brown, give it a second coat, 
proceeding just as you did in the first painting. Over the 
Steel Blue paint a fairly heavy coat of Bight Green. This 
will produce when fired a very beautiful iridescence. 
Go over all the copper with another coat of the same. 
Paint the inside of the rim of the jar where the lid rests 
with a solid wash of Black paint mixed with the ordinary 
painting medium. 
Paint the knob Black also. Dry as directed for previ- 
ous firing and it is then ready for its second firing. When 
this comes from the kiln, the color will be found to have 
more interest, and if the copper has been well put on nothing 
remains but a final outlining. This will pull the whole 
piece together and give it the desired snap and character, 
This outline is not intended to be a fine hair-line, but is to 
be a firm even, somewhat heavy outline, one which will 
carry well across the room. The outline of the panel to be 
a little broader and heavier than the rest of the design. 
Use a long haired sable outlining brush, mixing the 
color with medium, and thinning with turpentine. If the 
copper lustre does not have a good body, do the outline of 
the design inside the panel, and then lay on a third coat of 
copper. After this has been thoroughly dried, outline the 
panels. This can be done with a little care, taking pains 
not to have the black so wet with turpentine that it will 
run into the lustre. 
Touch up all the solid black again, dry once more, and 
the piece is ready for its third and last firing. Lustres may 
be fired very hard, and will wear much better if they are 
given a hard firing. If you do your own firing place the 
lustre pieces in the hottest part of the kiln, unless the lustre 
is used on Belleek. 
This ware is not suited to lustre on account of its very 
soft glaze. If fired at all hard, it will sometimes come out 
without any glaze, the lustre having sunk into it. Con- 
sequently, fire such pieces very lightly. 
Very complete information on the quality of the 
various lustre colors and the different combinations, is to 
be found in "Class Room," No. i." published by the Ker- 
amic Studio Publishing Co. 
If the student has made, as requested, a test plate of 
the lustres, she will understand in a general way their 
different values. The rest is a matter of experiment. 
LARKSPUR (Supplement) 
Treatment by Jessie M . Bard 
FIRST Fire — The flowers are a rich blue made of Deep 
Blue Green for the lights and Banding Blue and 
Royal Purple for the dark color. The stems are delicate, 
for this use Moss Green. Leaves are quite dark, use Shad- 
ing Green and Moss Green. The outline of design is made 
of Auburn Brown and Blood Red. 
Second Fire — Strengthen design with same colors used 
in first fire. 
Treatment for Water Colors 
Edna S. Cave 
The study of monkshood (or larkspur) is done on tinted 
paper, a light green being used but a wash of about 
the same color could be used instead. 
Flowers — Full washes of New Blue and Carmine. 
Stems — Light Green (thin wash), Hooker's Green No. i 
Leaves — Wash of Hooker's Green No. i, with Hooker's 
Green No. 2 to form shadows. 
High Lights — Naples Yellow. 
Dark Outline — Van Dyke Brown and Carmine forms 
rich reddish brown. 
Whole study may be outlined with Higgins' ink (black) 
the darker side of the study being emphasized. 
CHARLES BABCOCK. 
