KERAMIC STUDIO 
29 
TANKARD LUSTRE— Continued 
SECOND AND THIRD FIRE. 
(Sec May number fur first fire. ) 
E will begin now to put the lustres on the 
figures. Use one color at a time, putting 
it on wherever used all around the tank- 
ard, going over the surface with a quick 
and wide sweep of the brush. The lustre 
will blend itself somewhat, so, unless the color is too uneven, 
leave it alone after putting it on, for if you work over it you 
are liable to make it spotty or show the brush marks. Here I 
wish to repeat the first instructions to make them clear in 
your minds. Use the lustres from the bottles, just as they 
are, unless very sticky, then thin with Essence. They are all 
a yellow brown color before firing except orange which is 
grey. If possible have a separate square shader for each color 
and mark the handles so you can tell them apart. Never use 
lustre brushes for anything else. Wash them out in turpen- 
tine first and then in alcohol, if you must use one brush for 
two or more colors. The yellow and rose are the most sensi- 
tive to the influence of other colors, so keep distinct brushes 
for them at any rate. Keep the work clean and free from dust. 
The colors used in the panels are as follows : 
Center Panel. — Face, hands and sticks supporting grape 
vine, broivn. Tunic, cap (except slashes), and one side of 
bunches of grapes, purple. Hair, shoes, diagonal band in coat 
of arms, and design on same, border of tunic, hock glass (ex- 
cept where the wine is), and the orange in bunch of fruit in 
upper right hand column, orange. Slashes in cap and other 
half of bunches of grapes, violet. Ground work of shield, wine 
in glass, cherries and apple in upper right hand corner, and the 
right bottle in upper left hand corner, ribbons tying trellis, 
ruby. Stein in hand, helmet in coat of arms, blue grey. Legs 
of figure, leaves on grape vine, feather in cap and left bottle in 
upper left corner, light green. 
PANEL WITH Boar's HEAD.— Cap, waist and apron shaded 
with blue grey, leaving high lights white. Face, hands and 
hair, brown. Boar's head and carrot in mouth, legs of boy, 
pumpkin, ears of corn, squash and carrots in the bunches of 
vegetables, orange. Knee breeches, bean pods, and turnips in 
the bunches of vegetables, yellow. All leaves, light green. The 
bean flowers, rose. The bit of drapery at the top and the beet 
in the bunch of vegetables, ruby. Tray and rim of platter, 
copper. Bottom of platter, platinum. 
FIGURE WITH Fish. — Face and hands, brown. Cap and 
napkin over arm shaded with blue grey, also legs. Waist, knee 
breeches and shoes, olive grey. Rim and base of gravy ewer, 
rim of tray, rim and handle of spoon, platin urn. Body of ewer, 
bottom of tray, bowl of spoon, copper. All leaves and bodies 
of fishes in top ornaments, light green. Hair of boy, fish on 
tray, belt, cat tails and heads of fishes in top ornaments, orange. 
Bows at the knees, fins of fishes, shells and lilies, rose. 
Next go over the green lustre on body of vase and handles 
with the same light green. 
If the irridesccnt rose on base comes out spotted, go over 
it again with the same color. If it comes out fairly clear but 
uneven, it is all right to wash orange over it. If it comes out 
even and pretty, you can leave it that color if you wish, other- 
wise go over it with orange. Go over all your gold with a good 
even wash. When all is thoroughly dry you can model the 
raised work in paste for gold. It is then ready for second fire. 
When it comes out go over all the colors that need 
strengthening with a wash of the same color. Go over all the 
hair and shoes with brown, also shade the lower half of boar's 
head and fish with the same. Go over the carrot in mouth of 
boar with orange heavier than on the boar's head itself. Go 
over ruby on shield with orange. Shade some leaves darker 
than others. See that your gold and bronze are heavy enough, 
otherwise go over them again. Go over paste with two good 
washes of unfluxed gold, drying between. See that your black 
outlines are strong and distinct with a good glaze, if other- 
wise, go over them again. If after the third fire anything 
needs retouching you can safely give the extra fire. 
It is advisable for this work to use White China, as Beleek 
is less sure to come out as you expect it with lustres. 
TREATMENT FOR PLATE DESIGN— (Sevres in Style) 
THE rim of the plate is Dark Blue under the glaze, with the 
medallions left white for decoration. Any dark color 
dusted on the rim could be used. The design is drawn on the 
dark blue with a Chinese White in water color, as pencil marks 
or India ink will not show on the dark blue. A better plan 
is to draw the design in a very thin line of gold— (any remnant 
of discarded or dusty gold will do) — it requires very little. 
After the scrolls and flowers have been modeled in the paste, 
prepare your palette for painting the small roses in the 
medallions, using the Lacroix colors, Rose Pompadour, Car- 
mine No. 3, Apple Green, Brown Green, Night Green, Emerald 
Stone Green, Deep Red Brown, Mixing Yellow, Moss Green 
and Yellow Brown and Ruby Purple (German). 
First wash in the pink roses very delicately with Rose 
Pompadour, barely enough color to keep the drawing, which 
at first is only in masses. The high lights are lifted out with 
a clean brush. Rose Pompadour stands a hard fire, and for 
that reason in the small roses it is a good color to start with, 
but it must be used delicately. These little roses are then 
touched up with Carmine No. 3, a deeper wash in the center, 
and a little detail work in the petals, with just an occasional 
touch of Deep Red Brown to strengthen. It is a great mistake 
to work these little roses up too much — they must be painted 
in a broad and crisp manner — vary the position of the roses — 
as well as the tone. Some of them can be delicately painted 
at first with Carmine No. 3, to give a variety. The deep 
roses are painted in Ruby Purple and Rose Pompadour, half 
and half, and touched up after firing with the Ruby. 
For the first firing, the leaves are delicately massed with 
Apple Green and Mixing Yellow, with a few stronger touches 
of Brown Green and Night Green, or Brown Green and Emer- 
ald Stone Green. The stems must have crisp touches of Deep 
Red Brown. A certain warmth is added by using Deep Red 
Brown for some of the leaves In the second firing darker 
leaves are added, and these are more effective near the roses. 
Just as much depends upon the surrounding foliage for the 
character of the roses, as the painting of the flowers. Often 
the petals have very little paint upon them, but the leaves give 
the clear crisp edge. These are the most fascinating little flow- 
ers to paint — they look so simple, and yet to do them well, is 
extremely difficult. The secret being to make every brush 
mark tell, and to keep the color clean. Try to succeed with 
them., for there is something wonderfully attractive about 
these miniature roses that appeals to every one. Then too 
they require the environment of grace and elegance and are 
especially beautiful for table service. 
After carrying out the design in the raised parts and little 
roses a few touches of Turquoise enamel in the scrolls make a 
charming finish. 
