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REKAMIC STUDIO 
GLOVE BOX— MIRIAM SAUNDERS 
Treatment Page J 89 
ANSWERS TO CORRESPONDENTS. 
Mrs. C G. H. — The teak wood stands so much used for punch bowls and 
vases in the N. Y. Society exhibits are bought at Vantine's, Broadway, X. Y., 
or in some Chinese store. As you are in Oklahoma it would be easier to send 
to Seattle or San Francisco or some Pacific coast town where there are Chinese 
.Siliops. If your enamel has little black specks after firing, the paint or oils 
liave been mixed in some way with sonietliing injurious, which has gotten 
into brusli or palette before firing. Fire your enamels in tlie hottest part of 
kiln and pinks in the coolest .spdt if you want both fired right at the same time. 
Mrs. H. C. B. — We could not tell what tlie trouble with your liquid bright 
gold is unle.ss we saw you mix it, if it rubs off it is probably underfired. Are 
you sure you followed directions exnctly'! 
P. E. — Lustres can be used over paint and paint over lustre but it is 
alwajrs best to fire the one before going over it with the other. 
We have been informed that we were mistaken in saying in the last K. S. 
that lu.stres were all made by one European firm, there are three firms who 
send to this coimtry and some lustres are manufactured here by Sartorius 
and others. In stating that all lustres were about equally good we spoke only 
from our own experience, there may be some made which are not so good but 
we have not used them. 
.\. A. L. — If 3^our Coalport green came out with a high glaze, that is a.s it 
should be; if, when you used it before, it came out matt, that was some fault 
in the firing. If you wish it matt we can only suggest to go over the dish with 
some matt green. 
L. W. — A faience or pottery body needs a much higher fire than can be 
obtained in an overglaze kiln but the amount of temperature depends upon the 
mixture of the Ijody used, the colors are sometimes mixed with gum tragacanth 
and water, sometimes with fat oil and turpentine. 
Lustres come readj^ mixed with medium, if they tliicken, add oil of 
lavender. Lustre grounds are laid with a large square shade)-, add a little oil 
of lavender so that the color will not dry before blending with a silk pad, if a 
light tint is desired, otherwise let it blend itself, ordinarily no more medium is 
neces.sary beyond what is already mixed with the lustre as it comes. Lustres 
have been treated .so fully at different time,s in K. S. that we cannot take the 
space for an essay on the subject, but any questions wUl be answered. Un- 
fluxed gold can be used over well dried unfired paste but laetter results are 
obtained by firing paste first. 
Mrs. H. M. S. — Flux is used witli colors to assist the glaze The powdered 
flux is to be u.sed with powdered colors, J flux should \>c .'Klded for painting 
and J for tinting, to all colors except pearl grey, mixing yellow and apple 
green. If you wish to use powdered flux with tube colors, first mix; with 
medium to the consistency of tube colors then add to color in same proportions, 
fat oil and lavender oil make a good medium for powdered Aufstezweis, just 
enough fat oil to liold powder together, then thin with lavender, for powder 
colors \ise Copaiba 6 drops to clove oil 1 drop. 
A. W. — Color can be used over fired gold and if heavy enough the gold 
will not show through as in outlines, if too thick the color will blister and flake 
off, if too thin the gold will show througli with a bronze effect. 
The treatment of wild carrot study by Miss Mason will be found in the 
August number of K. S. The stein by Mrs. Safford in November number can 
be dusted twice if the black does not come out strong enough after first fire — 
two kinds of silver can be used, the liquid bright silver and the burnish silver, but 
a richer effect is obtained by using the bumi.sh .silver entirely and burnishing 
it where necessan\ If you used Delft Blue instead of black the Carnation 
tint at top could still be used but a deep cream would be better or a light grey 
green. Always use for background of naturalistic studies the same colors as 
used in the study itself. The colored glazes mentioned are in powder and 
are usually dusted on to the half dry or dry painting rather than mixed with 
the colors. 
In the directions for firing the oil kiln we say watch yo\jr chiuuiey, ad- 
visedly. We mean just what we say — if yoiu- house is so built that you can not 
see the chimney that is a sad disadvantage. We do not say "watch the smoke" 
because as soon as the chimney smokes it is time to tiu-n off some of the oil — 
the chimney ought not to smoke if j-ou are burning just the right amount of 
oil, you do not get any more heat by forcing the oil beyond the point where it 
is fully consumed before passing up the chimney. 
Tlie little hole at bottom of door is for convenience in cleaning the kiln. 
