198 
RERAMIC STUDIO 
until it is perfectly dry as that may cause the'^two layers to 
separate in the fire. If you wish to model a flower or scroll 
in the paste, use the larger brushes. Take up a dot as before 
on the^;point, touching the design lightly where the modeling 
is to be high and pressing the brush on the china where the 
design is to be lower and wider; any parts can be made higher 
bv retouching when partially dry. 
Many are the troubles met with in the paste work, but 
most of them will disappear when the worker becomes more 
accustomed to her medium. In some instances the trouble is 
due to under or over firing, too hard china, too much fat oil, 
etc., etc., but as a rule the real trouble is too Httle practice. 
If too much fat oil is used the paste will not stay "put " but 
will spread and run and look oily in drying. As a rule paste 
that looks oily when dry will chip or flake off or perhaps crumble 
in firing. If too much lavander is used the oils will separate 
from the paste leaving a moist spreading margin Avhich will 
ruin anything unfired it may touch, the paste also will be rough 
after firing. If the paste is under fired it will crumble so it 
may be rubbed off with the finger, if over fired it will be 
difficult to make the gold adhere, if put on over heavy color 
without first removing the color from beneath, the color mixes 
with the paste and causes it to bubble and boil. 
Paste for gold may be put on over a light unfired tint or 
lustre if perfectly dry, but for beginners it is safer to fire all 
under color first. Gold may be put on the paste when thor- 
oughly dry, before firing, but it requires skill to get the best 
results in this way, so for the beginner it is safer to fire the 
paste first. Do not raise the paste too high or too sharp so 
that it will be disagreeable to the touch or catch the knife, 
fork, or spoon if used on the rim of a plate or saucer. Above 
all, if the paste does not look smooth and even, take it off and 
try again, even if you do waste a little material, it is better to 
waste the material and the work rather than spoil the plate. 
Poor paste work is not to be endured bj^ people of taste. It 
really is better, if you have the strength of mind and will, to 
practice paste work on a white plate for a week or so, washing 
it off every day and starting again, before you attempt to 
decorate anything definitely in this manner. Good paste work 
is a delight to the eye while poor paste work is the abomination 
of desolation. 
HAZELNUTS 
Henrietta Barclay Paist 
COLORS, Sepia Brown or Fry's Meissen, Yellow Brown, 
Chocolate or Dark Brown. White Rose or Olive Green, 
Moss Green, Brown Green, Dark Green, Albert's Yellow, 
Yellow Ochre. 
Paint the nuts for the first fire with the Green, White 
Rose, Moss Green, Brown Green, and the leaves same, .strentgh- 
ening in the darkest parts with Dark Green; stems in Sepia 
and Dark Brown. 
For the second fire, wash the nuts with Yellow Brown all 
but the lightest parts, which remain green; pick out and shade 
with Sepia Brown, touch the leaves in the same way with sharp 
edges of Sepiaor Dark Brown, stems shaded with Dark Brown. 
Paint the little tassel (catkin) with Moss Green or White Rose 
and shade with Brown Green, just a suggestion of Sepia or 
Yellow Brown at the dark and soften the shadow side. 
A pleasing background can be made by using a little clear 
yellow and shading with the shades of green and brown at the 
darkest part. 
FLOWEl^ 
LEAF 
HYDRANGEA 
RUSSELL GOODWIN 
