130 
KERAMIC STUDIO 
ANSWERS TO CORRESPONDENTS 
(Continued from page 120) 
J. G. W. — How can so many colors be dusted on one design for the same 
firing without conflictingf I understand ordinary dusting perfectly, hut it seems 
impossible {for me) to accomplish perfect work with several colors dusted for 
the same firing. How is the color cleaned from the china and how is it put on 
without encroaching on other parts of the design? 
When dusting in several colors in one fire the oil is applied very thin 
without padding. Oil and dust one color at a time. Straighten the edges 
carefully after dusting with an orange stick and then the next oiling can be 
painted right up to the line without running into it just as you would paint 
in a color. 
L. M. V. — Will you kindly give me the correct proportions of Hand- 
cocks Hard, soft and m,edium enamel and Relief white used 1st on French and 
German, 2d on Salsuma and Belleekf 
For mixing enamels use 1 part Hancocks Hard White Enamel, 4 parts 
M. & H. Relief White, a touch of flux and whatever color you desire. Rub 
it through thoroughly without any medium and then use a thin quaUty of 
Lavender Compound for a medium. This same mixture can be used on 
BeUeek or Satsuma by using just a little more of the enamel or the same pro- 
portions can be used by using the medium enamel. 
Anxious — In making the "Acid etched Borders" ivhat is best to use in 
painting the design and the rest of the plate so the acid will not run and will eat 
only where you wajit it to? 
Use "Turpentine Asphaltum Varnish" as a resist for the acid work. 
FRUIT PLATE, APPLES— FLORENCE MILTON 
(Treatment by Jessie M. Bard) 
OUTER band, large leaf and two inner bands are Green 
Gold. Stem of the Apple and the 2d band from^edge 
are oiled and dusted with Bright Green, remainder of the de- 
sign except the apple is Dark Blue for dusting. Apple oiled 
and dusted with 2 pai;ts Yellow Red and 1 part Yellow Brown. 
