62 
KERAMIC STUDIO 
and it will become dusty before it dries; only a little clove 
oil is necessary, usually one-fourth of the quantity of balsam 
copaiba. 
Of course when the surface is larger, the color must neces- 
sarily contain more oil, or it will dry before you can blend it 
properly. 
The same rule holds good for the pozvder colors, when you 
wish to tint in this way, naturally they will require more oil 
and more grinding. They must never look " grainy," but 
must be as smooth as the tube colors. 
o o o 
LUSTRES. 
Lustres are liquid colors made on the same basis as liquid 
bright gold. They all look much like the latter before firing, 
being, with the exception of orange and brown, of a light 
golden brown color. They can be used just as they come in 
the bottles, unless they have thickened up, when it is neces- 
sary to thin them with essence which comes for that purpose. 
Lavender oil can also be used, putting it into the bottle with 
the lustre. Be careful not to use too much as it will make 
your color very delicate. 
For brushes you will need the largest size square shaders, 
and a few small square shaders for small spaces. If possible 
keep a separate brush for every color, marking the handle 
with the name. If you must use the same brush for two 
lustres, clean carefully in turpentine first, then in alcohol, and 
dry thoroughly before changing. Yellozv and rose must have 
a brush to themselves, as they are the most sensitive of all 
lustres. 
Put on your lustres just before firing. If this is not 
possible, dry immediately in the oven ; be careful not to dry 
too hard, as it will injure the lustre, causing it to flake off in 
places. Put on the lustre with a broad quick stroke and avoid 
going over it as much as possible, it will smooth itself some- 
what. When you want a delicate smooth tint, use a soft silk 
or chamois pad until tacky. It is well to warm the china a 
little before putting on the lustre, as that prevents somewhat 
the dampness, which often causes little white spots. Slight 
warming also makes the lustres blend better. 
As a rule a smooth tint in lustre is not particularly 
desirable, as the changing hues are produced by varying depth 
of color. Lustres are best used in strictly conventional work, 
as the colors are not reliable enough for naturalistic painting, 
though sure to make a beautiful effect in conventional decora- 
tion, whether it comes out as you expect or not. Gold is very 
effective with lustres, as are also black outlines. When the 
lustre is thoroughly dry, flat gold or raised paste can be put 
on it before firing, but it is always best, when convenient, to 
fire the lustre first. In the succeeding articles we will treat 
each color separately, telling something of practical use to the 
decorator. 
Lustre is most effective used sparingly on table ware. 
Use in borders only, as it wears the same as gold, not being 
absorbed into the glaze, as colors are. Do not use Belleek, if 
you want brilliant strong colors. Almost any color is liable to 
turn a dull lavender on it, with the exception of the shell-like 
table ware, and this is liable to come out without any glaze at 
all. Occasionally lustres on Belleek come out beautifully, but 
you are surer of your effect on white china. If you are not 
anxious for a high lustre, or if you do not mind a matt finish, 
you can take your chances with Belleek, not otherwise. 
If you begin to work in lustre, you must learn to "possess 
your soul in patience," for even after you think you have 
learned all there is known on the subject, you are liable to 
meet with constant surprises. However there is a way to 
remedy every mistake, and when you are at a loss what to do 
write to us and we will tell you in the Magazine. Sometimes 
the lustres are a pleasant disappointment, for the colors are 
seldom ugly, even when not what you expected, and some- 
times they are more beautiful than you imagined they would 
be. Let your motto be "Patience." 
DELFT LANDSCAPES 
HERE are some little landscapes to be painted in blue and 
white, underglaze or overglaze. But we want to suggest 
another treatment, and that is to paint them in lustres out- 
lined in black. You cannot imagine how charming an effect 
can be gotten in this way. 
In the cup and saucer design, for instance. Paint the 
body with Dark or Light Green, Pearl Grey, or Steel Blue 
used thin. When dry paint the scrolls in the same color 
darker. Use for skys Blue Grey thin, leaving white streaks 
for sky and also leaving the moon white. Use Dark or Light 
Green fur grass and trees, Blue Grey on sails uf boats, Brown 
for boats, Brown, Orange and Yellow for houses, wind-mills 
and cows. Outline all in Black paint. After using one color 
wait till dry, and clean off with knife where it runs over Un- 
drawing, before putting on the color next to it. The birds 
should be in black paint. These can be done in one fire. 
