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RERAMIC STUDIO 
£i'r: 
M 
CHICAGO CERAMIC ART ASSOCIATION 
At the armual meeting of The Chicago Ceramic Art Asso- 
ciation, held May 9th, at the Art Institute, Chicago, III, the 
following officers were elected: 
President, Belle Bamett Vesey; First Vice President, 
Rhoda M. B. McCreery; Second Vice President, L. S. East- 
man; Recording Secretary, M. Ellen Iglehart; Corresponding 
Secretary, Grace Polglase McMurtry; Treasurer, Albert Keith; 
Historian, Anna B. Crane. 
Chairman Standing Committees: Art, Mrs. A. B. Ryan; 
Literature, Mrs. Thomas Bradwell; Social, Mrs. William H. 
Chadwick; Printing, Mrs. Laura M. Starr. 
Custodian Official Papers, Victorine B. Jenkins. 
Mrs. D. C. B.—A new kiln is quite likely to flake off for a time but at an 
over glaze heat this should do no injury to the china. You will find directions 
for firing Rev. kiln in necember 1902 adv. and February 1902 ans. to corres. 
Your trouble is that you burn too much oil — A good firing should clean 
out chimney. Bleu Camaieu is the French for monochrome blue decoration 
and may be in any shade of blue. You will find treatment for flat enamels 
in April 1903 ans. to corres. M. 0. C. 
S. J. W. — You wiU find addresses of gold you seek in our adv. pages. To 
prepare Hancock's paste for gold use just enough fat oil to make the powder 
stick lightly together, breath (not blow) on it with the mouth wide open to get 
moisture in breath, several times, rubbing it in, this helps to keep the paste 
open longer — thin with oil of lavender until a little too thin then breath again 
on it and mix it until it thickens to the right consistency, this will Work a long 
time without adding anything. When too stiff add a little more lavender in 
the same way. 
For small dots turpentine can be used instead of lavender. Water paste 
is not quite as satisfactory to use as that mixed with oils. Ivory yellow is the 
same in all makes of colors. To get a deep black the only wav is to go over it 
until it is black enough: for a dusted ground you can dust first with banding 
blue and then with black but two dustings of black should be enough to make 
a deep tone. 
A. B. H. — .Almost all greens have a tricky way of turning rusty brown 
when used too heavily or imderfired, especially on Belleek. Refiring hard will 
sometimes bring the original color but it is uncertain. Possibly ivory glaze 
over the dark green tint would increase the tendency to turn brown. We 
are inclined to think this must ha^'e been the case with your shading green as 
that rarely changes to brown. The case of the fired and burnished gold ap- 
pearing on the surface of turquoise enairiel applied over it, is very curious,we 
have ne^■er heard of such an occurrence before and doubt if it will repeat itself. 
Possibly it was a very hard fire. Usually when putting enamel on a gold 
ground it is better to leave a little spot of white china so that the enamel will 
hold better, this would also avoid the blistering effect that sometimes occurs 
over gold. We should think you might co\'er your enamel dots with fresh 
enamel, or with gold to make them again uniform in appearance. 
G. — You will save yourself a great deal of trouble if you use the Dresden 
Aufsetzweis in tubes instead of powder enamel. When very fresh sometimes 
a quantity of oil comes out when the tube is first sqvieezed, this .should be re- 
moved, then mix a little oil of lavender with the enamel until a very little too 
thin, breath on it a few times and it will thicken up to the right consistency for 
jewels or modeling and will stay open a long time, when too dry add a little 
more lavender in the same way. If you added lavender and breath instead of 
turpentine to your jjowder enamel mixed very slightly with fat oil, you might 
a\oid the bubbling. The same treatment succeeds with raised paste for gold. 
If the paste does not hold together it needs a little more fat oil. 
VANDERLEEDEN ART &l SUPPLY CO. 
C. ~W. CUTLER, Pres-t. &12 ^V. Madison St.. Chicago. 
Send for PYROGRAPHY Catalogue. 
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