KERAMIC STUDIO 
CHARCOAL STUDY-MARSHAL FRY, 1 , LONDON, 1907 
TREATMENT FOR TABLEWARE 
GOOD craftsmen always wish their ornamentation to 
be so much a part of the material as to be in the 
latter, rather than on it. That is why we all like under- 
glaze ware, the painted design is in the material itself, 
between the body and the glaze. In overglaze we get 
somewhat the same effect b)" applying a ground or "en- 
velope" of very soft highly fluxed color over the entire 
surface, covering the designs and all. 
In my ceramic class, our aim has been to make our 
ornament a part of the ware. For this reason we do not 
make use of flat enamel, as we find that we are able to 
obtain more of the underglaze quality with ^simple colors, 
pale greys, greens, blues, etc. I believe in bright and 
strong colors also, if it is possible to keep them from appear- 
ing painty and on the surface. 
There is nothing more satisfactory in color for table- 
ware which is intended for constant use, than blue on a 
pale grey ground, provided that a good combination is 
chosen. It is so restful and quiet as to be always acceptable. 
Much of the old Chinese porcelain was painted with blotty 
landscapes and figures in blue. The glaze itself was al- 
ways slightly toned a greenish or bluish grey, making a 
sympathetic ground for the blue. 
The relation between the blue of the design and the 
grey ground is most important. There must be sufficient 
contrast, and yet the blue must not be so dark as to appear 
solid and heavy. 
There are many good combinations, that of the old 
Canton ware being fine, as are also some of the lighter 
schemes. 
Another very satisfactory scheme is a grey design 
on palest grey ground, perhaps with a note of green in 
the pattern. A combination of blue and green on grey 
ground is pleasing, if right colors are chosen. 
One very simple and chaste effect may be obtained 
in one firing, the pattern being in palest grey on a white 
ground. 
The following treatments may be applied to designs 
for plates, bowls, etc., contributed by the Bridgeport Design 
Class. They are suggestions from which variations and 
original combinations may be made. 
SUGGESTIONS 
It is better not to rub china with turpentine, as it 
causes a sticky surface, and makes trouble when the dry 
color is dusted on. The graphite impression paper makes 
a delicate but clear grey tracing on the clean china. Do 
not go over the traced lines with ink or water color. The 
design should be painted with Special Tinting Oil, very 
smoothly and evenly, the greatest care being taken to 
work cleanly and crisply up to and not beyond the traced 
lines. A very small amount of Grey for Flesh may be added 
to the oil to tone it slightly. 
As to how long to allow oil to stand before applying 
the powder color, is a matter of experience, depending upon 
the temperature of the room as well as upon how thickly 
or thinly the oil has been applied. Occasionally one-half 
hour is sufficient, but ordinarily it requires several hours. 
The dry color is rubbed in thoroughly with wool. 
The oil should have been painted on with such perfect 
technique that no corrections should be necessary, but if 
the latter are inevitable, make them with a clean brush 
moistened in turpentine, and never with a knife or cotton 
on a pointed stick, both of which leave ragged edges. 
Perfection of workmanship is absolutely essential to the 
successful production of tableware. 
After firing, the ground or "envelope" is applied. 
The Special Tinting Oil, slightly toned with Grey for Flesh 
is painted over entire surface and evenly padded. After 
standing some time to become "tacky", the dry color is 
thoroughly rubbed into it, all loose color being carefully 
brushed off. 
color schemes 
Grey design on grey ground — ist Fire. Design dusted 
with two parts Copenhagen Grey and one part Pearl Grey. 
Second fire — Envelope dusted with same mixture of greys. 
Blue design on grey ground — Design dusted with equal 
parts of Copenhagen Blue and Aztec Blue. Envelope 
dusted with same mixture as for the grey plate. 
Green design on grey ground— Design dusted with equal 
parts of Grey Green and Ivory Glaze. Envelope, two parts 
Copenhagen Grey, one part Pearl Grey. 
Grey design on white ground (one firing) — Allow oil to 
stand longer, that it may not take too much color. Dust 
with equal parts Pearl Grey and Copenhagen Grey. 
Should be extremely pale. 
The richness of gold and white is often desirable; its 
tendency to heaviness is overcome by use of very light and 
"open" designs, those in which the gold masses are broken 
by the white. Miss McCord's plates are excellent examples 
of patterns suited to gold and white treatment. The 
patterns with more solid masses are better suited to other 
schemes. 
In making new mixtures it is to be remembered that 
Pearl Grey gives warmth as well as Grey, and Copenhagen 
Grey is cold. With a hard fire Grey for Flesh greatly 
loses strength and warmth. These three greys may be 
used as a basis for nearly all the colors required for table- 
ware. 
Marshal Fry. 
