I02 
RERAMIC STUDIO 
Porcelain glaze, PN, 20 fr. (S4.00) per 1 00 kilos. 
Its composition is: 
Kaolin, 38 
Quartz, 24 
Feldspar, 38 
and it fires at 1330°, Seger cone 10. 
My present art production is made of this paste. The 
temperature at which it fires makes it possilsle to fire in the same 
kiln the mat glazes liable to be volatilized, and the applied 
pastes, wliich need a hard fire for their translucency. It re- 
solves itself to a question of careful packing of the kiln, the 
glazes at the foot, and the pastes on top of piles. 
The paste PN does not get out of shape easily, it has a 
brilliant whiteness and a milky translucency. It will stand 
many firings, a great qualitj^ for the saving of pieces which have 
not come successful^ out of a first fire. 
Mr. Frugier prepares also for casting, this same paste PN 
with the addition of a certain silicate, the formula of which I do 
not know, which malvcs it coagulate rapidly and allows one to 
take a piece promptly out of the mould. This special paste is 
called Paste PN for casting (in French, coulage) and costs 15 fr. 
(S3. 00) per TOO kilos. 
As all these descrii:»tions of pastes might leave undecided 
those who wish to try an artistic fabrication on a moderate 
scale, I will advise them to confine themselves at first to two 
materials, a gres paste and a porcelain paste. 
I advise them to adopt the porcelain PN Frugier and the 
Sevres gres. The PN glaze will fit both bodies. Both will 
fire in the same sagger at the same temperature, and can be 
treated with the same decorative processes without giving the 
same results. 
After they have solved the difficulties of the l^eginning, 
they will be in a better position to experiment on the other 
bodies I have mentioned. And if they wish to try only one 
material, they should without hesitation choose the porcelain, 
because it has over the gres the advantage of standing many 
refirings. 
I will add, as a conclusiem, that after tliej? have taken fron] 
the kiln a few successful pieces, they will soon understand why 
one becomes a ceramist. 
CONVENTIONAL BIRD DESIGN FOR PLAQUE— DOROTHEA WARREN 
OUTLINE design with Deep Red Brown, Brown 4 or 17, and Black. Paint background for first fire with Yellow Ochre, 
Silver Yellow, Brown 4 or 17 and Black. For birds, use Dark Blue, w4th a touch of Deep Purple and Black. Second 
fire, use Yellow^Brown lustre for background. The pale green tone on the wings of the birds is Apple Green toned with the blue 
used on the birds. 
