u8 
flERAMIC STUDIO 
SWEET PEAS (Supplement) 
IN painting this study the greatest effort should be 
made to keep the work broad and bold as it is always 
difficult when painting any small flower not to have it look 
labored. 
WATER COLOR TREATMENT. 
Pink — Carmine, Safflower, and Van Dyke Brown, 
Emerald Green (in the half tone) mixed with Carmine. 
Purple — Carmine, New Blue, in the high lights Saf- 
flower and New Blue. 
White — Lemon Yellow, Payne's Grey and Indian Yellow. 
Green leaves — Indian Yellow, Prussian Blue and 
Hooker's Green No. i. 
TREATMENT FOR CHINA. 
Pink — Peach Blossom and Carnation. 
Purple — Blue Green, Banding Blue and Ruby. 
White — Lemon Yellow and Grey for Flowers. 
Green leaves — Apple Green, Banding Blue and Yellow 
Green. 
POND LILY (Page J 05) 
WATER COLOR TREATMENT. 
Lemon Yellow, Payne's Grey, Indian Yellow and a 
touch of New Blue and Brown Pink for transparency. 
Leaves and background — Burnt Sienna, Prussian Blue, 
Payne's Grey for the lights, in ground Lemon Yellow and 
Hooker's Green No. i. 
TREATMENT FOR CHINA. 
Apple Green, Grey, Copenhagen to give the transpar- 
ency. Leaves — Deep Blue Green and Empire Green. 
Background — Deep Blue Green, Dark Green and Black, 
wipe out the high lights and dust with Yellow Green. 
«?* "jf 
CONVOLVULUS (Page U5) 
WATER COLOR TREATMENT. 
Flowers — New Blue, Prussian Blue and Carmine, Saf- 
flower with New Blue for the high light. 
Leaves — Indian Yellow, Prussian Blue and Hooker's 
Green No. i. Stems — Carmine, Van Dyke Brown. 
TREATMENT FOR CHINA. 
Banding Blue, Grey, Ruby, Blue Green and Violet, 
Blue Green, Apple Green, Deep Blue Green and Black. 
SMALL ROSES (Page 116) 
WATER COLOR TREATMENT. 
Rose Madder and Cobalt, a touch of Lemon Yellow and 
Green, if desired. 
Centers — Carmine or Madder Carmine. Leaves — New 
Blue or Cobalt, Payne's Grey, Hooker's Green or Sap Green. 
Stems — Van Dyke Brown and Brown Madder. 
TREATMENT FOR CHINA. 
Pink roses may be painted entirely in Peach Blossom 
but a better result is obtained if a little Carnation or 
American Beauty is used in the centers, and Grey for 
Flowers always improves the half tones. 
Green leaves — Yellow Green light, or Apple Green, 
Banding Blue, Empire Green. Stems — Yellow Brown 
and Hair Brown. 
■f -P 
YELLOW ROSES (Page 107) 
WATER COLOR TREATMENT. 
Centers — Burnt Sienna and Safflower for the bril- 
liancy. Leaves — Hooker's Green, Indian Yellow and 
Payne's Grey with a touch here and there of Brown Pink. 
TREATMENT FOR CHINA. 
Lemon Yellow, Indian Yellow and Van Dyke Brown 
with a touch of Payne's Grey in the shadow. 
USE OF FUSIBLE CONES IN FIRING 
THE fusible cones showing the different temperatures 
which the kiln reaches during firing, are becoming of 
more and more general use among potters, and there is no 
reason why they should not be used also by china decora- 
tors. It is true that it is easier to judge of the stage of 
firing from the color in the kiln at the low temperatures 
used in overglaze work than it is at the higher tempera- 
tures reached in pottery work. In fact it is impossible 
to do so at high temperatures, but it seems to us that, even 
in an overglaze muffle firing, great advantage would be 
derived from the use of cones. After a little experimenting 
the decorator would find out exactly at what point the 
firing should be stopped both in front and back of the kiln. 
In overglaze work some colors must be fired hard, others 
lightly. 
As we have not experimented with cones at low tem- 
peratures, we do not know exactly what numbers should 
be used in overglaze work but think it must be about cones 
013 and 012. Prof. Ed Orton, Jr. of the Ohio University, 
Columbus, Ohio, who manufactures these cones and sells 
them for 1 cent a piece, would undoubtedly be glad to 
give information on this point. 
The cones should be imbedded in a lump of fresh clay, 
which should be left to dry thoroughly before the firing 
is done, otherwise it might explode in the kiln. With the 
base thus firmly set in clay the cones will stand upright 
and can be watched through the spyhole. When the 
temperature of the muffle reaches close to the point of 
fusion of the cone, the point of the latter is seen to 
bend and it will gradually go down until it touches the bed 
of clay in which the cone is imbedded. A little later on 
the cone will collapse entirely. These three stages mark 
three slight variations of temperature. 
We would like to see some of our snbscribers experi- 
ment with these cones and would be glad to publish the 
result of those experiments. It would be interesting to 
know at what cone, or what stage of melting of the cone, 
best results are obtained for the firing of different colors, 
lustres and gold, on Limoges, Belleek and other china. 
ANSWERS TO CORRESPONDENTS 
Mrs. W. T. C. — Powder colors are not so good for deep tinting as tube 
colors. Ruby, Purples and other gold colors are more difficult to handle this 
way than other colors. Try tinting with the following formula: As much 
fat oil (in bulk) as color, rub to a stiff paste, thin with oil of lavender. Depth 
of color is obtained by dusting powder color into the tinting. Dropping the 
color on the tinting and brushing it over with a pad of surgeons wool avoid - 
letting the wool touch the tinting, dust until the oil will absorb no more 
color. If the livuid bright gold comes out spotty, the gold is put on too 
thick, thin with essence of lavender until it goes on a smooth golden brown, 
or perhaps there is dust on the china or gold, or occasionally , if the spy holes 
in kiln are not left open long enough, the moisture may collect on the china 
and make spots. 
A. W. — Maroon is a rich, dark red for dusting. In doing a conventional 
design where there is an all over tinting of color, it is always safest to fire the 
tinting before dusting different colors on small spaces. Then tint the places 
to be dusted only, cleaning off the edges. There is no comparative list of 
colors published except a short list given in Keramic Studio answers to 
correspondents, There are slight variations in all the different, makes so 
that one must learn the colors separately. 
