130 
KERAMIC STUDIO 
ANSWERS TO CORRESPONDENTS 
tvered by this department 1 
the month preceding is. 
< hy the 10th Oi 
Mrs. W. L. S. writes : " In the article entitled ' Pyrus Japonica Treat- 
ment' of the August number, in speaking of the lines of the sketch, it is stated 
that by changing the direction of the lines slightly, one has all th.it is neces- 
sary for a vase decorated on Japanese lines. Will you kindly explain in your 
next number, the decoration of a vase on Japanese lines, so that one may get 
the idea or principle on which the method is based, and oblige a subscriber." 
We suggested a change in the direction of lines to decorate a vase. This 
would be necessary in order to conform the design to the shape of the vase and 
to more evenly distribute the spot of color so that the entire decoration 
would not be on one side. The Japanese are the lovers and the best inter- 
preters of nature, but their decorations are most simple. They decorate in flat 
washes and have no shadows or shadowy blossoms, as is now the prevailing 
custom among decorators who prefer the pictorial. Their backgrounds are 
single colors. To quote Renan in "Artistic Japan" : "The formulas laid down 
. by the old masters have been carried on unchanged to modern times, namely, 
simple designs, simple forms, a studied absence of light and shade, employ- 
ment of water colors, and lightness of execution." Then again he says: 
" The Japanese brush has the full strokes and the thin, which have their 
meaning, and it is often a more manageable instrument than the pencil. 
Truly it paints without color, it accentuates, it caresses, it bullies, it glides, it 
runs, it gallops." What is always so remarkable in the Japanese decoration 
is their wonderful portrayal of nature. For instance, in the Pyrus Japonica 
they would sweep in the stem of blossoms on the vase, giving it a proper 
balance, making it decorate, conforming to all rules, yet never losing the char- 
acter of the growth of the plant. They utilize every characteristic of stem, 
blossom and bud. 
L. H. — We conscientiously recommend all the lustres that are advertised, 
as we have tested them. Write to the dealers for catalogues, or names of 
their lustre colors. Our articles on lustre will help you. 
C— Buy the platinum in powder form, mix with it a few drops of Dres- 
den thick oil and lavender. It will require an amount of grinding and rubbing. 
It is a good plan first to put a very thin wash of gold, and after tiring, apply 
the wash of platinum. This will give an extra body. 
M. E. L.— It is difficult to state what is the trouble with your enamels 
without knowing how the work was done or on what china. Enamels come 
out better on a soft glaze, and possibly the plate on which you copied Mrs. 
Cherry's design was a very hard glaze. Use about one-eighth flux with your 
enamel, if you find it chips, and you may have a better result. 
Jeannette — We hope before the year is out to publish some cupids and 
studies for medallion heads in color, but can not say just when. 
We would suggest for a handsome dinner service, to have a different 
design for each course, keeping the center white and the decorations in con- 
ventional borders with the monogram or crest on the rim, if desired, and the 
color scheme the same throughout. For the oyster plates, simple gold deco- 
ration is best, as the shape of the dish is not suitable for elaborate designing. 
For the soup, a gold etched rim with monogram or crest. For fish, a dainty 
conventionalized sea weed and fish net design in color and flat gold. For 
game, a conventional border in gold and bronze medallions, introducing game 
birds, either naturally or conventionally treated. For salad, a conventional- 
ized design of the dandelion, chicory, lettuce, nasturtium or some flower or 
leaf used in salads. This could be treated effectively in lustres, with either 
gold or color outlines. For the main course, a narrow rim of dusted color with 
a dainty gold design. The coffee cups should match the desert plates. On 
these you can expend all your best energies, reserving for these your enamel 
and raised gold work. We would suggest either an Oriental design in 
enamels and gold or a design in dainty Dresden garlands, combined with 
enamel jewel effects. 
In regard to the advertisements you mention, you will have to dommuni- 
cate with the business manager and he will send you the rates of advertising. 
Nothing of the kind is allowed on anything but the regular advertising pages. 
G. O.— Through the kindness of Favor, Ruhl & Co., any yearly sub- 
scriber can have a colored chart of La Croix colors on application to this office. 
C. A. H.— We have had the experience of color scaling off only in dusted 
backgrounds where the color was put on entirely too thick. We can quote 
Mrs. Fry, who considers your color was not put on just right— too heavy. 
Miss Montfort gives her opinion, saying that if the first fire is too slow 
and the color is not sufficiently glazed, by retouching and firing the second 
time it will scale. Perhaps the party selected the better pieces for the art 
store and kept the poorer ones for her china closet. 
It is the editor's opinion that the pinks used were mixed with iron colors 
(which can be done when color is thin), and that they were used improperly 
and that the firing was bad. If there is a perfect union between color and 
glaze, it is impossible to have the results you mention. 
Oouo- Oft. Saved. y»R6£MT AeJ- &UIES BLue'-ASUR.E 
MOQSL Or RjipRESisnrr/WG. H^MDlC COLORS >N BUCK. 
