180 
HXRAMIC STUDIO 
CHILD'S CUP AND SAUCER— A. EDNA EVANS. 
(Treatment page 164) 
ANSWERS TO CORRESPONDENTS 
Mrs. J. L. G. — Handle should be at the top. 
Mrs. L. S. — For mounting leather, address Chicago Chatelaine Bag Co., 
65 Washington St., Chicago, 111. There is an enamel that can be applied 
without firing in a special furnace. Maurer & Co., Art dealers, Council Bluffs, 
Iowa, carry the hat pins. 
Mrs. J. J. H. — It is not possible to set a price without seeing the work. 
Figure the actual expense to you and then figure the amount of time you spend 
on the work and value your time at a certain amount by the hour. This is 
the most satisfactory way. 
E. F. — Satsuma requires a rose fire, about the same as Ceramic Belleek. 
Lustre is not satisfactory on Satsuma. Use Blood Red and a little Yellow, 
applied very thin for the pink. 
Mrs. C. F. S. — Letters are used on the outside. 
B. J. K. — Two coats of Roman gold are best, both for -durability and 
color. Roman gold is best over the liquid gold. Use unfluxed gold over raised 
paste work and always on Belleek ware, also over color. 
T. K. S. — Use the diamond dyes. 
L. M. T. — Maurer Co., Council Bluffs, la., and also Wynne of New York 
City carry the Satsuma ware. 
Mrs. A. M. F. — Fat oil of turpentine is evaporated turpentine and is used 
for raised paste work and sometimes for enamel work. For medium use six 
drops of copaiba and one of oil of clove. 
Sister J. — Use Hamburg's white gold for silver. Apply' a thin wash 
twice. Cover the liquid silver with same. Amount of relief white depends 
on how hard it is. Some is fluxed more than other. Use one-fifth as much 
relief white as you do of the color when using Muller & Henning's make. See 
Miss Mason's monogram plates in the August number of Keramic Studio in 
regard to your plates. 
W. — The colors used were the Meissen colors. You will not be able to 
reproduce this exactly, for the ware used was very much softer than our 
ware and allowed the colors to be applied very heavy. The raised effect can 
be obtained by adding one-fifth part relief white to your color, but it will not 
have the transparency which your sample has. 
L. H. S. — Find the cost of the materials for the set and figure out the 
time it will take to do the work. You should value your time at a certain 
price an hour, and in this way you can find out what to charge. It would be 
impossible to make a price without knowing how much work was on the set. 
There is no cost for answers in this column. 
G. C. — The china was probably not fired hot enough. It should be fired 
hot enough to melt the color into the glaze. The underfired china will look 
dull and have no glaze. It is best to fire the lustres twice for, shading. It can 
be done in one fire by working very quickly, but it is much more difficult to do. 
