KERAMIC STUDIO 
S 
HINTS ON UNDERGLAZE 
Charles Volkmar 
IMPI.ICITV, a most important rule, applies to 
all decoration, but especially to underglaze. 
The limited resources of the palette require 
a simple interpretation of nature, and con- 
sequently a simple treatment, which adds 
greatly to the artistic charm. It is important to have a cer- 
tain knowledge in drawing, for to simplify is difficult. 
In underglaze decoration perfectly even colors should not 
be sought, on the contrary the mingling of colors, showing a 
vibration of tone, enhances its charms. Such subjects as lend 
to a free treatment produce the most satisfactory results. If 
minute details are desired, overglaze or china decoration, is 
more advantageous. The metals used in the production of 
colors are very few, i. <?., iron, copper, cobalt, manganese, anti- 
mony and oxide of cromium. These oxides alone, will resist 
the action of the glazes. 
The degree of heat generally required for underglaze is 
about 2,000 Fahr. or deep orange color of the ware, neverthe- 
less, good results can be obtained at a lower degree of heat. 
The bisque or body, to produce the best results, should be of 
an earthern ware nature, known as a "Faience" body. A 
porcelain body is too hard, and will not take a soft glaze as 
successfully. The underglaze palette contains no red, the 
nearest approach to red, is a brick color, obtained from an earth 
or clay found at Thevier, called the earth of Thevier, and the 
color made from it is known in the market as red T. 
The decorator must rely principally on contrast, to obtain 
a red quality. Only such flowers as Chrysanthemums, Peonies, 
Pansies, Poppies, Lilies, etc., which can be produced without 
positive reds, are suitable. Red should be introduced in such 
a manner that, should it be unsuccessful, it would not be 
missed. The slightest gas in the kiln will destroy even the 
limited red we have. When red has been injured by gases in 
the kiln, it fires a warm gray. 
To obtain a good treatment of flesh tint in underglaze it 
requires rich green surrounding, the latter giving color values 
to the red. Maroon or pink when worked over the red, often 
produces a rich quality. Transparent underglaze, that is, 
underglaze colors used without relief white, can be fired at 
the same degree of heat as china colors, using the same style 
of kiln. Underglaze should not be fired with overglaze china 
decoration, but each process fired separately. Be careful not 
to fire at less than china heat, a little stronger will do no harm. 
The best colors to be used are: — Maroon, made out of 
oxide of cromium ; French green, made out of oxide of copper; 
Light green, made out of oxide of cromium ; Black, oxide iron, 
cobalt and manganese ; Matt blue, made out of oxide of cobalt ; 
■ King's blue, also oxide of cobalt; Yellow, out of oxide of anti- 
mony; Orange, out of the same; Claret brown, made out of 
oxide of iron ; Dark brown, also iron ; and Red T, out of the 
earth of Thevier or iron. The preparation of colors is very 
simple: Take a small quantity of each color and grind on a 
clean glass or porcelain slab, using as a medium a preparation 
of gum tragacanth, which is obtained by dissolving the gum by 
means of a slow heat. A small amount of gum arabic can be 
added to the tragacanth with advantage. It is best to put 
the colors on flat dishes, say individual butter plates or some- 
thing similar, and when not in use cover with water, to keep 
in good condition. Should the}/ become dry or gritty, they 
must be reground. It is very important that the colors pre- 
sent a smooth surface after being applied. 
In painting commence on a small tile, drawing in your 
subject very carefully, with a hard lead pencil. Only draw 
the outline. The lead pencil marks will disappear in the fire. 
Be careful in painting not to be misled by the pencil markings, 
taking them for colors. Now soak the tile in clean water for 
a few seconds before beginning to paint. The amount of 
soaking depends more or less on the absorbent quality of the 
bisque which is to be employed. 
You can use both sable or camel's hair brushes, bristle 
brushes to removecolor are useful. A small sponge will also 
be handy for the same purpose. Lay in your large masses 
first with a firm coating of color, working your browns into 
the greens, or as your fancy leads you. Dark brown and 
claret brown, are very useful, and are used to a large extent, 
fine background can be obtained by working French green with 
claret brown or dark brown. If an outline is desired dark 
brown is the best color. The painting must be strong and 
firm, but at the same time, not too heavy as it would interfere 
with the glazing. 
[TO BB CONTINUBD.] 
VIOLETS IN WATER COLOR 
Rhoda Holmes Nicliolls 
OF all flowers perhaps the violet is the most difficult to 
paint, unless when treated in a decorative way and 
single flowers are shown. In the bunch the forms are so lost 
and confused that few are able to in terpret them successfully. 
Pictures of them either run to hard realistic studies, or mere 
suggestions with masses of color. The plate by Marshall Fry 
is a delightful exception — artistic, suggestive, dainty, with 
enough mystery to excite the imagination. 
In copying the little groups in water color, search care- 
fully for the form, and see that the paper is carefully prepared, 
wet it thoroughly and place it over damp blotting paper, 
pressing the two together until they become as one sheet — 
any drawing board will do to place the paper on. Draw with 
the tip of the point of the brush, a delicate sensitive line. 
Cobalt is the color that erases most easily. Paint first the 
tender light flowers using a little cobalt blue and rose madder 
and Hooker's green. When the flowers begin to dry, add the 
markings. The centers of the flowers must be most carefully 
manipulated, they are so suggestive of the violet. For the 
darkest blossoms use French blue, aligarin crimson and a little 
indigo, varying the colors and allowing them to vanish. 
Hooker's green No. 2, toned with some of the violet mixture 
already on your palette will give you the leaves and stems. 
The student often makes the mistake of sitting too far 
away from the flowers and losing the drawing. It is always a 
good plan in small forms like these to sit close to the object. 
Get up frequently and look at your work in the distance and 
compare with the original. In painting white violets it is a 
good plan to cover the white almost entirety at first, otherwise 
the study is apt to be pitched too high, white is apt to be 
influenced by its surroundings, the color and tone vary a very 
great deal. The stems should be carefully studied, their lights 
and shadows and general grace helping the flowers and giving 
them finish. The same can be said of the leaves, although they 
are single, occasionally and in some lights there is a good deal of 
subtile modeling which is by no means easy to render. The 
light in the leaves is blue, when the light shines through the 
leaves it is inclined to yellow. To qualify green use either rose 
madder or aligarin crimson. The single flowers are even more 
beautiful in form than the double and are less difficult to paint. 
