RERAMIC STUDIO 
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FUCHSIA VENUSTA— LUCY MARIE SHAVER 
(Treatment page 16) 
LESSON FOR BEGINNERS IN SEMI-CONVENTIONAL 
AND LUSTRES FOR A BON-BON DISH 
Jessie M. Bard 
TO divide the top of the box find the center first by lay- 
ing a narrow strip of straight edge paper horizontally 
across and find the exact width of the box, then fold the 
paper in half and place a mark where the center is, then 
place the paper on the box again and put a mark on the box 
opposite to the one on the paper, then place the paper verti- 
cally on the box and mark the center as you did before and 
the center is where these two marks cross. 
Next get the measurement around the edge of the lid 
and fold the paper in five equal parts, mark off the five 
spaces on the lid then lay the straight edge of the paper on 
the lid between the center mark and one of the outer spaces 
so the paper lies perfectly flat and mark a fine India ink 
line along the edge of the paper. Repeat this in the five 
sections. 
Take a piece of tracing paper and make a careful trac- 
ing of the section between the two dotted lines and trace in 
the design according to instructions given in the first lesson 
then go over all of the lines with a fine grey India ink line 
following the instructions given in the previous lesson. 
All of the dark grey tones, except the buds and the centers 
of the flowers, are White Gold. 
Be sure to have everything perfectly clean for this work. 
Keep brushes for gold work only; do not use them for color 
also. For the smaller spaces use a Windsor and Newton or 
a Reubens red sable No. 1 brush and for the larger spaces a 
No. 3 square shader camel's hair brush. 
Take a little of the gold from the slab and put it on 
another piece of glass, add a few drops of Garden Lavender 
oil and mix it through thoroughly with a palette knife. The 
gold should be the consistency of thick cream and should 
work easily from the brush. It will be necessary to add more 
Lavender oil occasionally while you work when the gold 
becomes too stiff. White gold should be applied in rather 
a thin wash; it does not burnish well when applied too 
heavy. When you have painted in all of the White gold in 
the center put in the darkest spaces with Roman gold and 
then continue with the White gold in the outer border. This 
is done in order to leave a resting place for the finger while 
working which could not be done if all of the White gold was 
put on first. 
Second Fire — Burnish the gold with a glass brush, then 
go over the entire surface, gold and all, of both the top and 
bottom of the box with Light Green Lustre. Great care 
should be used in working with lustres as they are very 
treacherous. Be sure that the china is free from dust and 
fingermarks. It should be cleaned with alcohol. Turpentine 
should never be used with lustres in any way. 
Brushes that are used for lustre should not be used for 
anything else and should be thoroughly cleaned each time 
they are used before putting them away. To do this clean 
the lustre out of the brush well with turpentine and then 
clean it well with alcohol to take out all of the turpentine, 
then rub the brush across the palm of the hand until it is 
perfectly dry. 
Have a clean silk pad ready then pour out a little 
Light Green Lustre in a small dish; a china slant is best. 
Add a few drops of Lavender oil to it. The amount of oil to 
be added depends on the tone of green desired; the more 
lavender is used the greyer the color will be. Paint the 
luster on quite heavy with a No. 8 square shader, work as 
quickly as possible as it dries rapidly and will show the brush 
