ttERAMIC STUDIO 
193 
used in an attractive manner on the popular salts and pep- 
pers. So many things may be evolved from one simple motif 
that the students are urged to work out any original ideas, 
which may come to them in carrying out the lessons. 
The plate design could also be adapted to other forms, 
such as a band for small bowls, cups and saucers, pitchers, 
etc. To apply it to the plate, a small coupe bread and 
butter is used, which is divided into five sections. It 
would look equally well on a larger plate using more sec- 
tions. For the little paste flower, which is the small wild 
aster, use the paste somewhat stiffer than for the roses 
on the bon-bon box. They must not be built up exces- 
sively high, but should be more in relief than the roses. 
Before proceeding with the paste, measure and gauge the 
line on which to build the dots, also the two lines which 
form the little enclosed border band and the line for the 
edge of gold. Next place the flowers, which should be 
modeled in free hand. If the student experiences any 
great difficulty in doing so, they may be traced. It should, 
however, be done if possible without this added labor. 
The same is true of the bon-bon box design. The flowers 
may be just roughly indicated with the china pencil, in 
either design. After the flowers are finished the dots are 
to be placed For this work the paste which has been 
thinned and then mixed with saliva is the best. Try the 
paste on your slab until the dots are just right, that is, 
they are well rounded and do not spread, but "stay put." 
One brush full will make several dots. The brush is used 
well filled, and held almost perpendicularly, just touching 
the china lightly. Care must be exercised to make the 
dots uniform in size. The little enclosed bands in the 
border may be treated in several different ways. 
It is suggested that they be done in flat gold, or flat 
green enamel, in which case outline with a fine black line 
for the first firing, and apply enamel in the second paint- 
ing. Various tones could be used in either flat tinting 
or ground laying. A rich maroon, made of two parts 
blood-red and one part ruby, would be very handsome 
ground-laid. If this idea is carried out, do the ground- 
laying first, and then when firm and dry put on the paste. 
Enamels or lustre would also work up well. Do not be 
afraid to try different ways of developing the designs. 
Fate likes to be dared, you know, and showers her favors 
on those who do so. 
BEET DESIGN— RUSSELL GOODWIN. 
Treatment by Jessie M. Bard 
OUTLINE design with Black and fire. 
Second Firing — Paint a thin wash of Yellow Lustre 
over the whole plate and fire. 
Third Fire — Go over the leaf forms with light Green 
Lustre and the fruit form with Yellow Brown Lustre. 
The bands of Yellow Brown Lustre. 
