92 
KERAMIC STUDIO 
ANSWERS TO CORFESPONDENTS 
Will Mrs. A. S. Potter kindly repeat her question for this column? The 
letter which was forwarded to the editor was unfortunately lost. 
Miss K.— Unfluxed gold will burnish off white china unless it is over 
a color. Enamels can be used over a painted surface. Paint and gold can 
be put on over lustre. If the unfluxed gold was on Belleek ware and comes 
out of the kiln looking rough it is probably over-fired, it will sink into the glaze. 
If gold is applied too heavy it will also look rough, but remains above the glaze. 
There is no unfluxed white or green gold." The gold was not applied properly 
when it does not burnish. There are many reasons for this; usually it is be- 
cau.s-e it was not kept perfectly clean, or you may have used a brush that had 
been used for colors. 
G. G. — The books j^ou mention are very good. "Dow's Composition 
and Design" is also a good one. Yes, the work should be kept flat when out- 
hned and when some shading is used it is also treated in a flat way. 
L. S. — Enamels should have a glazed finish when fired, when they have a 
(lull finish they are underfired. 
I. M. M. — The special oil called for in the treatment you mention is Fry's 
Special Tinting Oil. 
SEDJI SUGAR AND CREAMER— MARIE CLAYBAUGH 
Outline, Dark Green. Leaves, Empire Green. Bands, Green Gold. Flowers, Cream Enamel, shaded darker in centre. 
Stamens, Yellow Enamel. The design is evolved directly from analysis drawing of flower. 
CLASS WORK OF THE CHICAGO ART INSTITUTE 
