ftERAMIC STUDIO SUPPLEMENT 
PLUM BLOSSOM AND BIRD 
From Japanese Photograph Loaned by Mrs. A. B. Smith 
MOUNTAIN ASH (Supplement) 
Margaret Huntington Watkeys 
BERRIES— Orange Red, shaded with Capucine Red. 
Stems — Deep Violet of Iron for small stems. Larger 
stems and branches, Yellow Brown and shade with Dark 
Brown. Leaves — Sap Green and Brown Green. Dark Green 
Outline with Brunswick Black. 
ANSWERS TO CORRESPONDENTS 
E. F. R. — Does Rose Lustre change with agef I used it about a year ago 
and the result has lovely rose color. Recently I used it again from the same bottle, 
which had remained tightly closed, and the lustre was a dull purple. 
Yes, the lustres often change color. A fresh bottle of Rose, however, 
will fire purple if fired too hot or applied too heavy. 
S. M. R. — / have found difficulty lately in firing raised paste. The gold 
in the paste remains dark and will not burnish. Would it be possible that too 
much lurperutmc and not enough oil was used in mixing the paste? 
No, I do not think your suggestion would be the cause of the trouble, the 
paste would not work well when applying it. The paste should be fired before 
applying the gold, unless it is quite flat paste work and unfluxed gold should be 
used. The lack of either one of these precautions would cause the same trou- 
ble that you have had. 
N. K. B. — What is the best medium for mixing with the mineral colors in 
china painting? I have been using 6 parts copaiba balsam and 1 part garden 
lavender, but it is not satisfactory. 
No. 2 — In outlining I use black paint thinned with Campana's diluting 
medium. Very often when dried in an oven the lines bubble and spread around 
the surface of the china. What is the cause? 
Your formula is one that is given quite often. There are a number of 
good mediums on the market; you will find their advertisements in this maga- 
zine. You can purchase them from any art dealer. 
We would suggest that 3 r ou write to Mr. Campana as we are not familiar 
with his medium; you probably did not use enough of the medium. 
0. M. K. — Could you. please tell me where I can get a book telling how to 
charge for firing china? 
We do not know of any such book. Six inch plates are usually 5c, 7| 
inch, 10c, tankards 50c, large cake plates 15c, medium sized cream and sugar 
from 7J to 10c each, cups and saucers 10c, powder boxes 10c. You can regu- 
late prices for other pieces from these prices according to the amount of room 
they take in the kiln. Belleek pieces are a little more expensive as they can- 
not be stacked. 
L. M. F. — Will you kindly send me one or two color schemes for problem 12, 
plate 14, page 169 of the Jan. 1915 Keramic Studio 
For the cup and saucer the outline and the dark spaces are Gold. Sec- 
ond fire, oil the lined spaces and dust with Grey Blue. The oiling should be 
very thin. For teapot, outline with Black and paint gold over the lined spaces 
back of the design Second fire, oil the bands and dust with Florentine Green. 
The wide white space is oiled and dusted with Glaze for Green. AH flowers 
are oiled and dusted with Yellow for Dusting. 
R. E. — Can you give me the treatment j or the Chinese design, copy by Mary 
B. Jennings, in August 1915 Keramic? 
This will be most satisfactory on Belleek ware or Satsuma and clone in 
enamels. Outline the design in black. The two outer edges of the large 
flowers around edge of design are Wistaria enamel, the next one is Amethyst 
enamel and the next half Amethyst and half white, and the next, 2 parts White 
and 1 amethyst. The center of flower is 1 part Amethyst, 1 part White and 
a little Warmest Pink. All small centers in design are Orange Red. The 
three large petals of half open blossom around the edge are Warmest Pink, 
and the three smaller ones are 1 part Warmest Pink and 1 part White. Large 
flowers around center circle are Warmest Pink for the outer half petals, for 
the next 1 part Warmest Pink and 1 part White, for the next 2 parts White, 1 
part Warmest Pink. For the center petals use 1 part Jersey Cream and 1 part 
White. For the four sectional leaf form between the inner and outer circle 
use Celtic Green between the two outer lines, Gold in the next space, Jasmine 
in the four small spaces around the circle and Jersey Cream in the circle and 
also in the circles in the center. Small leaves in the center are Celtic Green. 
All background through the space between edge and center circle is Green Gold, 
allow about xs of an inch space between the design and the Gold. Outer 
stems are 1 part Warm Grey and | part Amethyst. The small flower be- 
tween center circle and square leaf form is Amethyst. 
A. A. — Is there a pure bright cardinal red and scarlet, and a pure rich purple 
in china colors, as Mauve and Alizarin Crimson in water colors? 
2 — Must liquid bright gold be put on thin without brush marks? 
3 — Can a matt color be pointed or dusted over if it is too thin after it, is fired? 
4 — In the dusting method is it necessary to pad all parts oj the design, and 
must it be smooth without brush marks? 
There is no pure scarlet, but Blood Red and a little Carnation will make it. 
Deep Purple is a pure rich purple. 
Liquid Gold should be applied rather heavy as even as possible without 
working over it much, though it need not be as free from brush strokes as 
with the lustres. 
Yes, it can be dusted over again. If it is painted over it will come out 
of the fire with a glaze. 
No, it is not necessary to pad the oil, but in that case the oil should be 
applied very thin. The oil should be almost all worked out of the brush be- 
fore applying to the china. Yes, it should be quite free from brush strokes. 
