130 
RERAMIC STUDIO 
with a large soft brush, over the surface to be painted, 
and it will be found to partially or totally check the absorb- 
ency according to the desire of the operators, the result 
being regulated, of course by the quantity of size laid on.. 
This can be done before or after the design is transferred. 
Underglaze painting lends itself most readily, and is most 
effective in decorative subjects, although naturalistic 
painting (which we shall deal with later) can be just as 
easily executed as in "on glaze" mineral colors. But 
the beginner should commence at first with subjects, 
preferably, having a firm outline. This outline may be 
done in dark brown, or any strong color, and if any flat 
tones are wanted, they can be added in the same medium 
or in colors mixed with turpentine fat oil, lavender, or 
any china painters medium. The advantage of this is 
that the outline does not wash up. I always prepare my 
VASE PAINTED UNDERGLAZE BY F. A. RHEAD 
painting of naturalistic subjects, or any elaborate work, 
in this way. A landscape or figure subject, for example 
is "washed in" the first painting, in gum and water, and 
finished in oils By this means, it is as easy to paint over 
the first preparation without disturbing it, or "muddying ' 
the color, as it is to execute the second painting "on glaze" 
after the first is fired. Another advantage is, that the 
superimposition of one color over another is always clear 
and brilliant, and not blurred, as is often the case when one 
medium is used. But the double medium is quite un- 
necessary in the case of ordinary work when few colors 
and little shading is employed. 
I give one or two examples of varied treatments of 
the Iris and its seed pods — a charmingly decorative motif, 
and one too rarely used — I refer more especially to the 
seed pods. 
The tall vase No. i is meant to be in a colored body, 
cane, terra-cotta, or sage. 
For a cane body, the outline and the flat, dark parts 
of the pods should be done in dark brown, the light parts 
in white, and the seeds in green (chrome). If a colored 
body cannot be obtained do the light parts with a very 
pale wash of French green. 
For a terra-cotta body, use black in place of dark brown. 
For a sage or drab body, outline the design in chrome green, 
and do the seeds in Victoria green. 
Mazarine blue should be used, for a dark blue, 
but if a delft blue is wanted, add a touch (about i in 20) 
of borate of copper. If a "Globelins" blue is desired add 
to the mazarine about 10 per cent, of chrome green. 
It is imperative that one thing should be borne in 
mind. All underglaze colors (or nearly all) vary in strength 
according to the staining powers of the bases of which they 
are composed. Cobalt — and all colors made from cobalt — 
become stronger and deeper in tone after being fired. The 
mazarines, royal blues, Indian pearls, and neutrals, are 
of this class. Chrome green, and French green remain 
about the strength they appear before firing. Victoria 
or golden green, fires lighter and a little extra strength 
should be allowed in painting. The same thing applies 
to the pinks, crimsons and browns. 
Yellows and oranges vary, i. e., they depend upon the 
make, and their suitability to the glaze. Some yellows 
fire darker, and some lose strength considerably in the fire. 
Generally speaking, the more lead a glaze contains, the 
more friendly it is to yellows and oranges. 
If a glaze contains a small percentage of lead, the 
yellow will appear pale and washed out unless it is applied 
very thickly. This may be remedied by adding a little 
raw white lead — about 2\ per cent, to the color. 
But the firing away of underglaze colors may be due 
to other causes besides lead. Some glazes contain whiting 
— a form of lime — which is a great decolorant. The best 
thing for the beginner to do is to get two plates or slabs, 
and to make duplicate trials of all colors in various thick- 
nesses and shades, numbering them and taking care that 
both plates of trials are exactly similar. One should be 
fired, and the other kept unfired, and it will then be easy, 
by comparison, to tell how much each color gains or loses 
under the particular glaze available. 
The materials and methods of application, are, it is 
hoped, described with sufficient clearness, and it only re- 
mains for the beginner to put them in practice. At the 
outset, it would be well to try a few pieces in monochrome, 
or in two colors at most. A vase or plaque, painted in 
dark blue, with arabesques, ornaments or natural objects, 
