128 
KERAMIC STUDIO 
Warm Shadow. Touch up the cheeks, lips, ears and nose, 
or all rosy parts with Pompadour No. 2 adding a little 
Rose to Pompadour. Now model the light side of face or 
figure, where needed, with Tender Shadow. On shadow 
side, model with Cool Shadow. Use small stippler or brush 
and blend from clear Flesh to Tender Shadow and Tender 
Shadow into Reflected tone. Strengthen the shadows if 
needed with Warm Shadow, blending smoothly and grad- 
ually, allowing no brush marks to show. Touch up the 
eyes and mouth softly and strengthen where needed. 
Cover the background and hair with medium and work 
up with same color or washes of warmer color, blending all 
edges softly. Be careful of lights and shadows, avoiding 
all hard lines in the hair and keeping an atmospheric effect 
in background. Go over the drapery, keeping it soft and 
dainty. The china is now ready for the second fire, which 
should be rather hard so as to produce a good glaze. 
In the third painting go over the whole surface with 
the medium and strengthen where needed, with a touch 
to give a warmer or cooler tone. To give softness four or 
five fires are not too many, and you will always find some 
thing to improve. 
In conclusion, I might add that upward curving 
lines in the mouth give a smiling and pleased appearance, 
and in painting the faces of children, keep the nose short 
and the face round and chubby. 
UNDERGLAZE DECORATION 
Frederick A . Rhead 
THE practice of underglaze painting is not sufficiently 
pursued. Not on account of its difficulties, for it 
is easier for a capable worker in water colors to do success- 
ful wofk right away in underglaze colors, than in overglaze 
mineral colors. The method of work is indeed somewhat 
akin. Transparent effects may be obtained on white bis- 
cuit in exactly the same way as one paints on white paper, 
while the water colorist who is fond of effects on tinted 
paper may obtain similar results on tinted bodies with 
the assistance of opaque underglaze white. Enamel paint- 
ing on glaze is really not true ceramics. In its highest 
form — the enamel painting of Sevres, — it was applied to 
the pate tendre which was actually not a porcelain at all, 
but a kind of hard, semi opaque glass. But underglaze 
painting is true ceramics. The colors, being fused under 
the glaze, are impermeable to atmospheric effects; to 
which all overglaze painting is subject. Besides, the best 
underglaze painting has a limpidity and freshness which 
may be compared (to use a charming simile which the 
writer heard Mr. Godfrey Wedgwood use) to the effect of 
a "pebble under water." 
The historical and supremely artistic wares of Faewga, 
Castel Durante, Urbino and Galbio w T ere painted under 
glaze. It will be our business to describe in detail the 
many ways of using under glaze colors together with the 
various technical devices adopted by masters in the art. 
It is best at the outset, to use a simple palette. The 
complete underglaze palette is restricted for chemical 
reasons, but it is sufficient, properly employed, to yield 
almost any color effect. It is less garish than the overglaze 
palette, and the dubious colorist may have the consola- 
tion of knowing that harmonies are more easily obtained 
in under glaze colors; in fact it is difficult to get discords. 
All the colors necessary to get at the outset are : two 
browns — chocolate and red brown; two blues — mazarine 
and matt blue; two carmines — U. G. crimson and pink, 
yellow and orange; three greens — chrome green, Victoria 
or golden green, and French green, violet, and U. G. Black. 
The intermittent tones must be obtained by mixing 
or superimposition. The method of doing this will be 
fully described in the proper place. Of course intermittent 
tones are sold, but until the tyro is able to get his or her 
effects by the colors indicated, additional colors will be 
found confusing. It will be perhaps noted that no red is 
mentioned above. The reason is indentical with the 
reason of the naturalist for neglecting to describe the 
snakes in Iceland. "There are no snakes in Iceland." 
And there is no underglaze red. If red is needed, orange 
must be used, allowed to dry, and a wash of crimson or 
pink put over it. It is possible to mix crimson or pink 
and orange but the result is not so good. The reason is 
that the orange is made from iron, and the crimson and 
pink from tin and bichromate of potash; and these ingre- 
dients do not agree when mixed together. But when the 
pink is superimposed on the orange, it retains its bril- 
liancy (which is dulled by mixture) and the w T arm orange 
glows through, giving the red tone desired The same 
principle applies to the purple tints. There are purples 
supplied by color matters, but they are sometimes un- 
satisfactory and disappointing, on account of the blue and 
the crimson (of which the purple is composed) dividing 
in the fire. The purple may be mixed on the palette, 
but the same risk is present. 
The best way is to put the crimson on first, and wash 
or "glaze" cobalt or mazarine over it. By this method, 
tones of extreme richness may be obtained. The exact 
tone of purple needed may be secured by varying the 
thickness of the crimson or blue. A little practice will 
enable the operator to do this almost automatically. 
Having given a general idea of the colors required, 
we will consider the best method of procedure to be adopted 
by a beginner. The first thing needed, is, of course, a 
piece of biscuit pottery. The design may be sketched 
with lead pencil on the biscuit exactly as one sketches 
on paper. In "repeat" patterns, especially of an elaborate 
order, I use a device, which I think is not generally known, 
as it was my own idea. I measure out the "repeats" in 
their required divisions, and sketch one only. .1 then trace 
it carefully on tracing paper, and outline it carefully on 
the tracing paper with a fine pen in hektograph ink. This 
I print on a sheet of the gelatine sold for the purpose, and 
I cut it with scissors to the shape of the division. The 
gelatine will then print as many repetions of the pattern 
as may be required, and its advantage is, that it will print 
on any surface, fluted or embossed, biscuit or glazed, or 
even on clay. 
Any medium may be used for painting under glaze. 
But perhaps the best for general purposes is water. The 
color should be mixed on a slab with a palette knife, and 
sufficient mucilage (such as gum arabic) added to make 
it work smoothly. Then a few drops of glycerine may 
be added, to prevent the color from drying too quickly on 
the tile. The painting may then be done exactly as if one 
was working in water colors, on paper. But with one 
important difference. Some of the biscuit ware is ex- 
tremely absorbent, almost as much as blotting paper. 
To some this is an advantage, and suggests technical 
"dodges." But to others it is only perplexing and baffling. 
In the latter case, the remedy is very simple. A* thin 
size or mucilage should be made of gum arabic and water, 
with a teaspoonfull of white sugar stirred in (in about a 
teaeupfull) until it is dissolved. This should be brushed 
