RERAMIC STUDIO 
quires much handling, follow the transferred lines with pen 
and India Ink in fine dotted lines, and remove carbon lines 
with kneaded rubber. If preferred the tinfoil stencil may 
be used, brushing over with powdered charcoal to stamp 
design, then follow with dotted lines in ink, and brush off re- 
maining charcoal lines. 
SELECTION OF POINTS AND THEIR TREATMENT. 
A good selection of points is an economy in the end, en- 
abling one to secure desired effects with an ease impossible to 
one struggling with a few points. The curved and round 
points in general use for wood, are also the two most used in 
leather. Use the round point for broad, flat outlines, dots, 
etc. — the curved point for sharp or deep cut lines, also for 
shading, by using the point flat. 
For etching or the fine lines of monograms, best results 
are obtained with a slim, sharp point, shaped like a tiny pen- 
cil. One can write upon leather with this. Another needle 
desirable for shading small spaces is flat at the end and about 
the sixteenth of an inch wide. There are also many shapes in 
removable platinum burners with a special holder. These 
burn circles, squares, and many other designs which are very 
effective in back-grounds and borders. 
In burning leather or wood containing moisture, tannin 
or rosin a roughness forms on points which should be removed, 
after point is cool, with pumice or hard rubber. Cleaning 
points with emery gives a grain to accumulate more rough- 
ness, and acid will injure the thin sheath of platinum. 
For lustres, gold, silver and glazes, a small and medium 
pointed red sable brush. A small and medium flat red sable 
brush one-half inch wide for glazing broad surface. 
For stains, three flat camel hair brushes one-eighth to 
one-half inch wide. 
[TO BE CONTINUED.] 
ANSWERS TO CORRESPONDENTS. 
This column is only for subscribers whose names appear upon our list. Please 
do not send stamped envelopes for reply. The editors can answer questions only 
in this column. 
Mrs. J. W. S.— The only way to get a dark rich effect by dusting powder 
color over half dry painting is to make the painting in the first place as rich 
and dark as possible without getting the color too thick. Then dust with 
dark rich colors, and repeat this two or three times until the desired effect 
is obtained. 
The best way to know whether your kiln is sufficiently fired is to paint 
a little rose color or carmine on several broken bits and place in various 
parts of the kiln, if the pink comes out well fired, not too purplish, everything 
else in that part of the kiln should be about right color, if brick v it is under- 
fired, if very purplish it is overfired for carmine, but will probably be about 
right for other colors, as amateur kilns rarely fire too hard, except for car- 
mine. A good plan would be to get some" pyro metric cones from Prof. 
Edward Orton, Jr., of the Ohio State University. They cost a cent apiece. 
Set two or three of these on a piece of fire clay where it can be seen from 
the peep hole, or if this is impossible you will have to fire and see what the 
result is afterward. It would be well to have from cone .010 to cone .03 or 
.02, for you would not go higher for overglaze. Then make trial fires till you 
can see at what cone 3^our china is properly fired and try to give the same 
fire always for the same effects. Never use two successive numbers in cones 
at one time, but skip one, as there are so few degrees between. Say use cone 
.07 and .05, .010 is the lowest, .01 the highest, when the cone is bent over 
so the tip touches the base, the limit of heat for that cone is readied, put 
your sample of carmine near your cone, when you find the carmine fired 
rightthen you will know the right cone to use "for firing carmines. If no 
carmine is used you can go, say to the next higher cone, and see what 
your results will be. If there remains anything unexplained, let us know 
and we w^ill do our best to make things clear to you. 
M. D.— To use the Bohemian glass jewels on china, a cement for that 
purpose is sold or you can use paste for gold or soft enamel, but they must 
be fired at little more than glass heat, that is, when the kill is a dull red, 
put a clot of the cement, paste or enamel and press the jewel firmly into it, 
it is usually best to have a setting already fired and gilded, so that the little 
rim of fresh paste which will come out around it will not show. Do not 
wipe this rim off as it helps to hold, but when dry cover with gold. 
Mrs. P. W. R.— Lustre can not be used over raised paste, but it is 
sometimes quite effective over enamels. 
Mrs. H. E. B. — If rose color scales off it is usually painted on too thick. 
You should paint lightly and fire twice. If you wish to fire at a light tem- 
perature you can add flux to your Aufsetzweis in using it as cement. 
ESTABLISHED 1789. 
Oil l.j )Vai'£\ Colour 
1 _;■■■' 
ROWNEY'S Finh 
COLOURS Mo ll Per man~ent\ IN THE MARKET. 
ARE THE T^BrWumT ) 
FOR~SALE~BY ALL 
HIGH CLASS ART DEALERS. 
IMPORTED BY 
The F. W. T>e<voe and C. T. %aynolds Co., 
(01 Fulton Street, <§\><n; York. 
Favor, %xhl & Co., 
54 <Park Place, €Ne<0) York. 
AND OTHERS. 
MARSCHINQ'S GOLD .-. 
Costs more because worth more 
than others •n 
It is endorsed by all leading china painters and 
by A. Lacroix, of Paris, the famous chemist and 
authority on china colors and gold. 
It is sold everywhere, because it is in demand 
everywhere. Lacroix Colors and Marsching's 
Gold for sale by all dealers in Artists' Materials. 
FAVOR, RUHL & CO. 
WHOLESALE AGENTS, 
54 Park Place, New York City. 
