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KERAMIC STUDIO 
GLADIOLI— (Supplement) 
Joseph Kallaus 
THIRST Fire— Paint pink flowers, the lightest tones with 
-T Rose Purple; the dark tones with Carmine Purple. 
Shade with Grey for Flowers. Paint petals with Banding 
Blue and Light Violet mixed. Paint light tones of white 
flowers with Grey for Flowers; use for the dark tones a little 
Light Violet in the Grey. For the centers use Albert Yellow. 
Wash out the light tones and what appears in the finished study 
as a light purple tone. Petals for white flowers with Copen- 
hagen Blue mixed with a little Ruby and a larger proportion 
of Ruby for the shading. The red flowers paint with Blood 
Red and shade by mixing a little Grey with it. Paint the bright 
tones with Yellow Red and wash out the high lights. For the 
petals use the same colors as used for the petals of the white 
flowers. Paint in the background with Blue Green and Grey 
and Light Violet and paint the faded flowers with a mixture 
of Light Violet, Yellow Brown and a little Ruby; the leaves 
with Blue Green, Yellow Green and Grass Green, shade with 
a mixture of Grass Green and Yellow Brown; the darkest shades 
with Shading Green or Black Green and Yellow Brown mixed. 
Second Fire — Wash over the background with Ivory Yel- 
low and Yellow Brown, then paint the background flowers 
with Carmine Purple, Yellow Brown and Grey. Go over the 
light tones in the leaves with Lemon Yellow and the same 
Greens used in first fire wherever necessary. Paint over the 
red flowers with Yellow Red. Where the grey is prominent 
paint over with Yellow Brown and Blood Red. Use the same 
colors for the faded flowers. Use a mixture of Ruby Purple 
and Violet of Iron for the darkest shades in red flowers. Go 
over the white flowers with a thin wash of Lilac and take out 
the white parts. For the purple tones in the centers of the 
white flowers use a little Copenhagen Blue. Paint the center 
of the pink flowers with a little Albert Yellow and the darker 
parts with Yellow Brown. The dark shade is Ruby and for 
the darkest use Ruby mixed with a small part of Light Violet. 
HELPFUL HINTS 
USE small wisps of cotton wrapped around point of the 
handle of small outliner for cleaning up work. 
Cotton that has been used for padding can be pulled 
apart loosely and put in a small pasteboard box with a hole 
in the top. From this hole small wisps can be pulled out of 
the box without raising lint, the arch enemy of the china 
painter. If the silk used for padding seems a little thin, use two 
layers over the cotton in padding for dry dusting and lustre 
work. This leaves no lint. 
- Use point of wax china pencil to pick up lint, bristles from 
your brush and dirt out of a background. 
Hold the pencil at right angle with the china and touch 
just the point to the bit of dirt you wish to remove. The mark 
left by the pencil will fire out. 
After cleaning brushes with turpentine, when through 
with work give them a touch of olive oil or clove oil to keep 
them soft. This must be cleaned out of brushes before using 
them for gold. 
When you can try drying china in the hot sun. There is 
no lint out of doors. 
When holes appear in fired lustre, it shows dirt; paint and 
fire again. Try to use lustre where there is no dirt. 
In putting brushes away for the summer place moth balls 
or camphor with them to prevent moths. 
Clean brushes and china with alcohol for lustre work. 
Do lustre work on a clear day and be sure the china is dry. 
