ri:ramic studio 
223 
Brushes that have been used and you wish to lay away, 
clean with alcohol or wash well with soap and water and 
rinse and dry well. They will be like new. 
Grind all colors well with muller and gi'ound glass slab 
and they will work smoothly. 
Try clearing up all materials one day in the week, put 
fresh papers on paint tables and put studio in order. 
Work will go better and time saved by having everything 
in order. Mrs. Earl L. Ramsey. 
* * 
In the last two numbers of the Studio you have asked for 
helpful suggestions about our studios. I have a few little con- 
trivances of my own which I will gladly give you if you think 
them useful. At the left of my table on the window casing I 
have a small wall pocket in which I keep my tracings of units 
being used in class the most. Below this I have hung my spool 
of adhesive tape. To the right of my pocket I have a wall 
vase which holds my brushes and knives. On my table I 
keep a hair receiver which holds cotton and I find by keeping 
it in this I have much less lint. On the left end of my table I 
have an old fashioned shoe bag with three pockets. In one I 
keep clean silk, in another dirty silk and the third holds rags. 
I find by the use of these things that my table is much less 
cluttered and I spend little time in hunting for the small things 
so easily lost. Florence A. Huntington, 
ANSWERS TO CORRESPONDENTS 
M. M. C. — The cause of your lustre rubbing off is because it was not 
fired liot enough. The opal should be applied very heavy. 
O. M. A. — The unfluxed gold is used as a second coating over unfluxed 
gold. The same is also best for over raised paste and also on the belleek ware. 
Mrs. R. — We cannot tell the cause of your china turning milky, there 
might be a number of reasons for it, it may have been the ware you used, or 
if you are using a kiln with an h'on firing pot it may be due to dampness in 
the kiln. Have you had this trouble with other pieces? If you have more 
trouble and wish to write more m detail concerning it we may be able to help 
you. 
J. E. H. — The spot in your gold is probably due to somatliing not being 
clean, either the brush or the lavender oil. 
F. W. and E. E. R. — For a tinting oil use 5 parts oil of copaiba, 1 part 
oil of cloves and enough oil of tar to darken it slightly. 
W. H. C. — The matt colors are applied like any other dusted colors, 
you will find directions for dry dusting in one of the "Lessons for Beginners." 
You probably dusted the color on while the oil was too wet or you may have 
applied the oil too heavily. 
FULL SECTION OF PLATE— L. R. LIGHTNER 
Treatment by Jessie M. Bard 
TRACE the design and outline with India ink, making the 
necessary corrections. Paint in the bands and the form 
which connects the flowers in the outer border with three parts 
Banding Blue and one part Copenhagen Blue. The leaves are 
two parts Sea Green and one part Banding Blue. The outline 
around the flowers and the dark spots in them is Apple Green and 
a very little Violet No. 2. Give this a very hot fire. Second 
Fire — Oil over the entire surface with Special Tinting oil and 
pad until tacky, then dust with Pearl Grey and a very little 
Deep Blue Green, just enough of the latter to give it a blusih 
tint. (The full plate (9 inch diameter) was published in May, 
1912 Keramic Studio.) 
