I1ERAMIC STUDIO 
i& 
BRUSHES 
WE HEAR of remarkable pictures being painted with the 
most primitive utensils and effects obtained by fin- 
gers and knife, and all sorts of stories about great geniuses 
who have painted masterpieces in a moment of inspiration, 
with stumps and sticks or anything that happened to be con- 
venient, — but for porcelain painting give us good brushes! ! 
A beginner will need two or three pointed shaders, rang- 
ing from number three to ten, also square shaders about the 
same sizes for painting larger motifs and backgrounds. 
A brush for putting on tints or grounding oil is a good 
thing to have, also a few stiplers and blenders, for working in 
colors under handles or in difficult places — and for smoothing 
gold on large surfaces. 
Then for paste brushes, sable riggers number oo and one. 
A flat pointed sable brush is fine for modeling in paste; 
often an old sable brush cut down will do very well. For 
outlining a design in India ink, a Japanese brush with fine 
point is exceedingly useful. (They are not so successful with 
turpentine.) For outlining a design in color, a long camel's 
hair brush is necessary, as it will hold a lot of color and prevent 
frequent replenishing ; the use of this brush will seem awkward 
at first, but with perseverance the difficulty will be sur- 
mountable. 
A fine crow quill pen often saves time for outlining either 
in gold or color, but this, too, needs a certain handling to 
make effective lines that show strength and character without 
being hard and mechanical. 
The pointed shaders are useful in obtaining an effect with 
one heavy sweep or stroke, such as the Japanese use in their 
method of painting. 
The square shaders are better for broad washes, where a 
more even tone is desired and where one color is blended into 
another. 
There are special brushes for miniature painters which of 
course a beginner will not need for some time. 
After using, brushes should be carefully cleansed and put 
away from the dust. A tiny bit of sweet oil will keep them 
soft and pliable. 
DESIGN FOR CUP AND SAUCER— ADELAIDE ALSOP-ROBINEAU 
ROSES should be in flat gold outlined in black, the dark weis, tinting with Carmine 2 and using one-eighth flux. Use 
band of some tint or a fine diaper of gold lines and the darker shade for center and far away petals. When nearly 
black dots, or the roses can be modeled in raised paste not dry raise little turnover edges on the center and near petals, 
too high, finished with a line of flat gold above and below, or Leaves can be in flat color, brown and green, in gold or in 
they can be painted in natural colors or modeled in pink enamel, using Apple Green and Brown Green to tint enamel, 
enamel. For the latter treatment mix two shades of Aufsetz- and retouching with brown when dry. 
