IlERAMIC STUDIO 
259 
you wish. The method is usually to tint the entire piece a soft light grey 
yellow or grey green or whatever general tone is desired. Then the design 
is painted in the chosen color scheme, and sometimes a color is dusted over 
the entire border to bring it together in some particular scheme, or some- 
times a second fire is given with a light dusting of color over part or whole 
of the design. 
For instance, the prize design by Marie Crilley Wilson , Christmas Kehamic 
Studio. Tint entire plate lightly with yellow brown having a touch of blaclc, 
paint in design with royal or moss green for trees, etc., and pompadour for 
roofs of houses, etc., according to the color you wish to preponderate. When 
finished dust lightly again over border only with the yellow brown mixture — 
or Miss Mason's neutral yellow or one of Mr. Fry's neutral tones. Write the 
Prang Educational Company for a list of boolvs by Mr. Froehlich, color chart, 
etc. 
E. M. L. — Your complaint that the naturalistic studies are not exact 
enough for copies in many cases is quite true — but there are many reasons 
why it should be so. In the first place, a photographic representation of any- 
thing is not art. A naturalistic study of an object is supposed to give the 
general effect both of color and light and shade, also to suggest good grouping 
or arrangement and the main characteristics of the growth but not the details. 
If you 7nust copy, then there is enough in these studies to copy, but they are 
intended rather as suggestions of the way in which you should make your 
own studies from nature. Detail drawings are given always in studying an 
object for conventional design. These you should make yourself after the 
examples given so often in Keramic Studio. It is not possible for one artist 
to see any object in the same way or in the exact coloring that it presents itself 
to another. 
Then again — it is not always possible to get as good studies from nature 
as we would like, so we are forced to give what we can get, or our readers 
would have to go without any. Until you have tried to publish a magazine 
so fuU of illustrations as Keramic Studio you will hardly be able to appreciate 
the difficulty of obtaining what you wish ivhen you wish or need it. The 
treatments are such as the artist sends with the study, so if further information 
is required the Ans. to Corres. columns are always open, and no one need com- 
plain of insufficient instruction for they may always have it for the asking. 
The same colors and mediums are used in both naturalistic and conventional 
work. For an even tinting, the colors are padded as in naturalistic back- 
grounds but more carefully. You will find directions in many back numbers 
of K. S. Ans. to Corres. You will find any amount of designs in conventional 
or semi-conventional work for dinner and tea sets, dessert plates and bread 
and butter, in the current and back numbers of K. S. You have only to 
make your choice. Realistic designs for such plates we do not give as there 
is no such thing — but realistic studies we give in every number and in different 
sizes of circles so that all you have to do if j^ou wish this kind of decoration , 
is to apply the study to whatever size plate you wish to decorate. We 
should say "desecrate" for we do not consider realistic studies as being in 
their right place on plates. 
The Keramic Studio sells for ten cents a very convenient plate divider 
which will be found of the greatest assistance in measuring or dividing any 
object to be decorated. We have given many articles and much information 
in Ans. to Corres. about the manner of doing conventional work — one will be 
found in the next number. In firing several objects with the same tint, they 
should be placed as nearly as possible in the same part of the kiln in order to 
have the color uniform, also care must be taken that the tint is put on of a 
uniform depth. 
L. E. — For the dull finish on china, you must use the mat colors as you 
use the ordinary ones. In purchasing colors from our dealers, always ask 
if they have any special instruction to give in their use as different makes 
sometimes demand a different treatment. Ordinarily the powder color is 
rubbed down with fat oil, just enough to make the consistency of stiff tube 
color, thin with oil of lavander until no longer tackj^^ put on quickly and as 
evenly as possible with a large brush and pad until dry. Sometimes a second 
coat and another fire is necessary to procure an even mat surface. Other 
oils and mediums can be used if you prefer or have become accustomed to 
others. 
J. D. W. — Many different mediums are used in china painting, and each 
one is compounded of .different mixtures of sometimes quite different oils. 
The one we have found very useful and the one used by Mrs. Phillips for 
figure painting, is compounded of 6 drops of oil of copaiba to one of oil of 
cloves. This is equally good for flower work. Enamels in tubes should be 
used with lavender oil for large surfaces, for small dots, turpentine. If in 
powder, fat oil enough to hold the powder together should first be used. 
Soft enamels should be fired only once, it is sometimes possible to refire but 
not very safe. Aufsestzweiss will stand two fires and sometimes more, but it 
is safer always to finish enamel work in as few fires as possible. White 
enamels can be mixed with any color desired except the iron reds and browns, 
such as pompadour, carnation, blood red, yellow brown and other browns. 
If these colors are desired, it is possible to paint with them the surface of the 
already fired white enamel. Keramic Studio sells a plate divider for 10 cents. 
It is difficult to find good tiles for decoration of the size desired, but if any- 
where you will find them by writing to the wholesale houses advertising in 
Keramic Studio. 
G. S. A.~ Belleck chinii can be used in figure painting with very fine 
effect, the only thing to guard against is the too free use of tender or cool 
shadow, as the reds fire out and the blues fire in very strongly. We would 
advise using the warm tones somewhat stronger than on French white china. 
Mrs. E. E. T. — You will find color scheme of poppies with the color 
supplement of Mrs. McLennan Hinman's poppies in January 1905 Keramic 
Studio; also the article on poppies by Mrs. Sadie Wood Safford, in January 
1903 KerajMIC Studio. For color scheme of cherries see the March 1902 
number of Keramic Studio study by Jeanne Stewart or the study by Mary 
Alta Morris in December 1901. 
Why g'o to New YorK 
FOR 
Undecorated China and 
China Painters Materials 
W. H. BARRON, 
1303 Fulton Street. BrooKlyn; 
Carries a large line of Artistic CKina, all the Col- 
ors. China fired every evening at ^tOO o'clocK. 
Unexcelled for high glaze firing' and perfect 
pinks. No Catalog'ues. <^ ^i? 1^ i^? V* 
The *MDEAL' 
CHINA KILN 
THE "SPHINX" 
Improved China 
Palette Box 
\VitH Removable Pallette 
Patented Nov. 29. 1904 
DIRECTIONS-For the purpose of 
cleaning or replacing the Palette, in 
case of breakage, slide back the sleeve 
connecting and locking the two ends of 
thu steel spring wire, that holds the 
Palette in its place. By lifting up the 
two ends and pulling the wire out of Its 
groove, from any one side, the Palette 
is easily removed and afterwards placed 
bacrk in its former position in the same 
manner. 
Made of Heavy Japanned Tin, 
in two sizes. 
Size 9x13, price each $1.2.5 
Size 6x9, price each 90 
For further particulars inquire 
at 
F. WEBER & CO. 
Manufacturers, Importers, Dealers 
Artists' and China Painters' Materials, 
709 Locust St., 227 Park Ave. 
St. Louis. Baltimore. 
1125 Chestnut St., 
PHILAOELPniA. 
COOLEYS 
GOLDS, BRONZES 
AND OILS 
nd every requ 
r for CKina Painting. 
WHITE CHINA FROM ALL COUNTRIES FOR DECORATING 
Send for Catalogue. 
BOSTON CHINA DECORATING \VORIiS. 
h. COOLEY, Prop.. S& Tennyson St., Boston. EstablisHed 1&60 
