174 
RERAMIC STUDIO 
brittle, to make easier the handling and glazing, especially the 
inside glazing. To glaze the inside of a piece, the glaze should 
be poured rapidty into it with a funnel, and it should also 
be quicklj^ poured out four or five seconds later. 
Figure work requires double care, and while three coats of 
glaze are sufficient over the other parts of a piece, over figures 
six very thin coatings should be given. 
Pieces to be refired will be glazed with the fat oil of turpen- 
tine, after the spot to be retouched has been carefully cleaned. 
In the manipulation of matters which are used with water, 
rust, dirt, and all fat substances over which the water runs, 
should be carefully avoided. 
Before glazing, the artist should brush the pieces, or better, 
clean them, either with hand bellows, or with the strong wind 
from the atomizer, if necessar3^ with sand paper. 
By arranging all his pieces together and getting them 
ready to all pass through the same operation at the same time, 
he will gain time, which is mone}^, say the English. 
MOON SEED 
Edith Alma Ross 
Berries Blue Black, leaves soft thick Green, whitish below. 
LILY DESIGN FOR PLATE— ANNA B. LEONARD 
TliE entire design may be outlined in raised gold (or black) 
and filled with solid gold. The background would look 
well in opal lustre. The same design may be carried in three 
or five flat tones, the full blown flower and buds in one tone, 
the stems and leaves in another, the spaces about the full 
flower in one tone and the spaces about the buds in another — 
such as dull red, grey green, light and dark, and a powdering of 
gold dots in the spaces about the large flower with dull red band 
on edge, — ^the whole design being outlined in flat gold. 
There will be twelve divisions, the large flower placed in the 
center of everj^ alternate division and the two buds in the other. 
Another color scheme may be blue and green, the flowers being 
dark blue, the stems and leaves, light and dark green and a 
turquoise blue tone in the spaces about the large flowers, out- 
line in flat gold. Dark fine band on the edge with an inner 
line of gold. The lines of the design being simple, it will look 
well on pottery, either the outline raised or incised, or merely 
a flat tone of blue under the glaze, or as an enamel of glaze. 
The stamens when colored will make pleasing spots and they 
may be raised or flat. 
In combining several flat tones, have nothing vivid. Any 
color will go with another if it is grej^ enough — this effect can be 
obtained bj^ adding a little black to anv color that is too vivid, 
this is essential if the flowing enamels are used. 
