KERAMIC STUDIO 
117 
be avoided and work will progress more rapidly and easily. 
Covered palettes are the greatest convenience and labor- 
saving contrivances, as colors will keep fresh for a week or two. 
This is also economy! The chief thing is, that the palette is 
protected from dust, the arch-enemy of the china decorator. 
Arrange the colors, beginning with the pinks and reds, 
around the edge of the palette, leaving the center clean, for 
mixing the variations of shades while painting. This space 
will, after a morning's work, be muddy with the different 
colors rolled from the brush ; therefore, when through with 
the palette, clean off the muddy color, so that your palette 
may be ready for use when needed. It takes away one's in- 
spiration to try to paint with poor brushes and hard colors, 
besides interfering materially with the freedom of touch. 
The simple teapot design of violets, in this number, will 
be helpful to one beginning the decoration of china. It may 
be treated in various ways. It is not necessary to make decora- 
tions elaborate in order to be beautiful. It is more often the sim- 
ple things that are most satisfactory, but they must be correct. 
If possible, own your own kiln. In no other way can you 
so quickly understand the chemistry of colors, glazes and tex- 
ture of the china. You can plan your work better, and fire 
accordingly. There is nothing difficult about firing, and until 
you own a kiln you will never quite feel the entire fascination 
of china decoration. After you have learned to manipulate a 
kiln, you can lessen your expenses by firing for others ; but 
never fire with the idea of making as much money as possible 
out of each firing, and crowding in china where it does not 
belong. That is fatal ! Study each piece, and if you have 
not the proper place for it in the kiln, leave it out. We will 
give complete directions for firing later. 
Always read our answers to correspondents. 
TURKISH DESIGN FOR STEIN— DOROTHEA WARREN 
FOR the background use Dark Blue, a touch of Deep Purple 
and Brunswick Black with one-fourth Aufsetzweis. This 
ground should be laid in as you would lay a heavy wash in 
water color. Use plenty of turpentine, put it on quickly and 
leave it alone. The predominating colors should be Blue, 
Tan and Pink. A little Green and White can be introduced 
in the small parts of the design. 
For the tan enamel use Yellow Ochre, Silver Yellow and 
Brunswick Black, with one-fourth Aufsetzweis. For the pink 
use Hancock's Carmine with a mixture of two-thirds Aufsetz- 
weis and one-third Hancock's hard White Enamel. Use two 
tones of pink. For the green enamel use Chrome Green, 
Apple Green and Silver Yellow, with two-thirds Aufsetz- 
weis. 
Keep the little border at the base of Stein in Blue, Tan 
and Pink. Outline the design in outlining Black. 
