KERAMIC STUDIO 
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filing nails to different degress of bluntness the pattern will 
have more variety and as the student becomes familiar 
with tools he will be more keenly alive to the artistic possi- 
bilities of this work and these possibilities are infinite. 
DIRECTIONS FOR MAKING THE LAMP SHADE OR LANTERN 
Preliminary work. Having unrolled the metal, rub it 
flat with a piece of wood, or a wooden mallet and with 
scissors cut a piece a trifle larger on all sides than the article 
to be made. It is better to have the design carefully drawn 
on paper. Place the piece of metal on the drawing board, 
the design upon this, fixing it at the top with drawing pins 
or tacks. Under this slip a sheet of black carbon paper. 
With a hard pencil firmly follow every line of the design. 
Remove both papers and you will find a print of the pattern 
on the bright metal. This, however, will rub off easily, so 
it is best to scratch the lines with some sharp pointed in- 
strument, a steel crochet needle makes an admirable tracer. 
Look the traced lines over carefully, if there is the least 
error, correct -it; do not count upon making correction 
later; what seems to be a trifling fault in the drawing will 
be a serious blemish when beaten in metal. 
Let me impress upon those attempting to learn a 
minor art, the importance of care and thoroughness in the 
beginning ; careless habits acquired at first are seldom over- 
come. 
Having perfected the pattern the metal must be at- 
tached to the felt-covered board. The felt not only pro- 
tects the board but keeps the tool from getting dull, also 
it prevents the metal from bending. With your pointed 
nail-punch in the left hand and the hammer in the right 
begin by following carefully the outline of the center form, 
piercing the holes at a regular distance apart. Outline the 
entire pattern first. Always work from the center outward, 
the metal then is less likely to buckle. Having finished the 
outlines gradually fill in between, puncturing the entire 
background. This will give relief to pattern, and make it 
appear raised. The lamp shade 111. No. 1, is made of 28 
gauge copper. When the work is finished you wilLhave 
to seek the assistance of the local tinsmith and have him 
turn the edges, top and bottom, over a wire to give the 
shade firmness. He will also join the sides in either a 
clutch joint, or by riveting. For this joint you must allow 
on either end one-half an inch margin parallel to the ends. 
Riveting is much the more decorative way of joining 
and is not a difficult problem. This paper deals with the 
simplest form of this art and that requiring the least ex- 
pensive equipment, therefore riveting will be described 
later. 
Nothing could be better than perforated decoration 
for lamp shades, lanterns, electroliers, candle shades and 
fire screens. The light shining through is most effective. 
The beauty may be still further enhanced by lining with 
colored silk. Be sure to select a silk which is rather thin 
and transparent so that it will not exclude too much light. 
Lamp shades of brass require to be made in panels, for the 
reason that brass comes in rolls not over twenty- two inches 
wide. Copper, however, may be obtained in sheets 28 
by 40 and even larger. 
When decorating an article like the sconce or bellows 
111. No. 2, where the perforations are used only to give the 
effect of repousse\ and not to admit the light, it is well to 
make the holes rather small. This is attained by a lighter 
blow of the hammer so that only the point of the tool pene- 
trates. 
The bellows are very stunning made of either brass or 
copper. The length from the tip of nozzle to top of handle 
is three feet. Instead of the English coat-of-arms the arms 
of the person for whom they, the bellows, are designed 
could be used. A conventionalized salamander or dragon 
makes an effective design. The salamander seems, be- 
cause of its mythological significance, particularly well 
suited to a bellows or fire screen. 
Two other methods of decorating metal are what is 
known as repousse and chasing. 
Repousse is embossed ornament in relief, done by 
forcing out the metal from the back. 
Chasing is done entirely by working on the face of the 
metal. Chasing is used by itself or in connection with 
repousse\ 
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