4 o 
KERAMIC STUDIO 
of it, between the cotton and the oil, otherwise the oil will 
become full of lint and your tinting ruined. After lightly 
dusting off the superfluous colors (the oil will absorb just so 
much) clean the edges and the design with a piece of dry cloth 
rolled into a point. The tint should look smooth and even, 
no little particles of color should remain prominently on top. 
It is most important to clean thoroughly the bottom of the 
china, as any little atom of color that adheres will fire in, or 
worse still, some of the particles may drop on something 
else in the kiln causing disastrous results. This may sound 
appalling to a beginner, but it is only a word of warning — 
above all things learn from the start to be neat with every 
stage of the work — then it will be second nature and many 
mishaps may be avoided. 
[To prevent confusion, another article will be given upon tinting, with the 
colors used wet] 
o o o 
RAISED PASTE 
There may be many formulas for raised paste, but my 
advice is, always choose the simplest method and work 
accordingly. 
Hancock's paste for raised gold is the standard. Buy it 
in powder form and learn to mix it yourself, without depend- 
ing upon that which is prepared ready for use. It is always 
better to be one's own chemist, and in this case, to be the 
thorough master of the material. There are many mediums 
which would make the paste work well, but it is so easy to 
overdo the matter, and then have disastrous effects in the 
firing — so follow the simplest method, and work as a profes- 
sional. Take as much powder as the end of large size palette 
knife will hold and place on a ground glass palette or slab; 
add to this enough Dresden thick oil to change the color of 
it, but not enough to make a paste of it. Add two or three 
drops of lavender oil, and after rubbing well, thin with turpen- 
tine and grind until the mixture is thick enough to make a 
line of it, without spreading. Use the rectified spirits of 
turpentine. If your paste crumbles you have not enough oil 
to hold it together. Add a very little more Dresden thick oil. 
If the paste spreads after applying to the china, or still looks 
" shiny " in half an hour's time, there is too much oil and more 
of the powder must be used. If after the paste has been 
applied to the china there should be a circle of moisture 
or turpentine about it, stop using it at once, and rub it 
thoroughly, adding a drop or two of lavender oil, which will 
hold the turpentine and oil together. Use the mixture soft 
enough so that it naturally flows from the brush in a smooth 
condition. There must be no sharp points or rough lines. 
After the firing it should feel perfectly even and smooth to the 
touch. The least elevation looks much higher after the gold 
is on than in the unfired state of the paste. Amateurs as a 
rule make the paste stand too high, which destroys the 
delicacy of line and requires twice as much gold to cover it. 
This same method for mixing holds good in modeling 
paste scrolls, figures or flowers. You must learn to make it 
stay just exactly as you place it. If these directions are 
carried out, you may fire your paste with perfect safety an 
hour after using. But if the paste has a gloss on it, I would 
wait until it looked perfectly dry and dull before putting into 
the kiln. 
Definitions of terms in Heraldry — for coats of arms and 
crests on china and glass: 
Gules — red. Azure — blue. Or — yellow. Vert— green. 
Sable — black. Purpure — purple. Argent — white. 
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