IJT2 
KERAMIC STUDIO 
potteries from different parts of Europe, specially that of the 
Limoges pottery, that the founders of the Rookwood were 
first inspired to try their fortunes with the kiln, and since 
then the few that Prof. Morse mentions have been launched 
and many others of somewhat different nature, showing this 
oldest of the arts still lives and appeals to the hearts of people. 
There is no art more fascinating than that of the potter's- 
wheel — to see a mere lump of clay, such as one might pick up 
in the street, suddenly, as if by magic, transformed into a vase 
of beautiful form and proportion, must ever continue to delight 
the soul of man. 
From the beginning, when it is yet fresh from the potter's 
hands, bearing often the marks of his fingers, through the 
period of its decoration, through the glazing, through the fire 
tests, it is a continual source of pleasure and surprise. 
There are many mishaps in this most treacherous of 
instruments — the kiln — but there are as many more delightful 
surprises in store. The opaque metallic glazes are very uncer- 
tain in their results, but even if they are not what was 
expected they are apt to be something even finer. For 
example, put two or three vases covered with a copper glaze 
in the kiln and at one time they will come out a fine greenish 
blue, at another time other vases covered with the same glaze 
will burn to a deep red if the degree of heat should be slightly 
different. The chances involved are exciting. 
The process of underglaze painting is simple and requires 
simple, big designs and firm drawing, all of which is closely 
observed in the decoration of this pottery. But I shall not 
touch upon this side of the pottery — that speaks for itself. 
ANSWERS TO CORRESPONDENTS 
Any questions to be answered by this department must be sent in by the 10th of 
the month preceding issue. 
H. E. B.— Could you not take a few lessons from some good Chicago 
teacher of water color and drawing? It is hard to explain just what one 
means without being able to demonstrate practically the points in question. 
Look in our teachers' directory. Never paint what you do not see, even if 
you have been pleased with the effect some one else has gotten. If you want 
a rich brown effect, put a bit of brown drapery back of your study, you will 
find it almost blue in the light and warm and rich in the shade. Where you 
want a red and warm effect use a redder background. Do not be afraid to 
have your painting of fruits or flowers melt a little into the background. 
You must not let your edges get hard. The reflected light on the fruit depends 
entirely on the color of the background. If it looked blue like the high light 
on the plums, just lift off a little color with your brush, putting in yellow 
would of course make green. In regard to the study of grapes, we are glad 
to see you taking the work seriously and drawing what you see, not what 
you know. Study your grapes more closely, they look too much like bullets. 
You will find the high lights more square and not on the edge. The grapes in 
shadow might have diagonal lines across to throw them back. The high 
spot of light on the grape usually has a dark spot below or on one side. 
Study the pen and ink work in the best magazines, or buy some reproductions 
of Fortuny's drawings or Gibson's. Thai will teach you something about 
technique, or best of all, find a good teacher for a few lessons. Any one can 
become a member of the National League who is interested in the work. 
Write personally to Mrs. Worth Osgood, I he President. You will find her 
address in the Directory. 
H. R.— The recipe for gold in the last number is a tried and reliable one. 
All possible particulars were given in that article. 
L. M. L.— The Ceramic Publishing Co. of Indianapolis advertise a deep 
rich blue such as you wish. You might write to them or to any of our adver- 
tisers. A good color can be obtained by dusting on the powder color. Use 
3 parts Victoria blue to one part purple 2. If the gold rubs off, it is under- 
fired. The bottom of the kiln is much hotter than the top, so that in the same 
firing the pieces below might be well fired and those above underfired and the 
gold rub off. Gold is more difficult to work with when old, as the oil hardens 
and also is liable to be full of dust. 
Mrs. J. H. H. — A good color scheme for the third tall jar on the back of 
the September number is as follows: Ground light brown with an all over 
net work of gold, flowers pink, painted naturalistically with green leaves and 
outlined in gold, the smaller flowers blue. The border about the neck has 
yellow chrysanthemums on a darker brown ground with green scroll work 
all outlined with gold. The base is a Chinese teak wood stand. 
E. McL. — We will put a candlestick design in the next number, also the 
simple cup and saucer designs requested. 
A. M. R.— When you wish to fire pinks three times it is best to paint in 
with Pompadour the first time, and touch up for the last fire with Carmine 3 
or Rose. Do not use greys except in large flowers, where they can be 
painted in with the Pompadour. 
Mrs. M. F. L.— We would hardly dare promise that lustre could be 
successfully used over spoiled Delft Green on a Belleek vase. If the color is 
not heavy you might experiment with Steel Blue or Iridescent Rose. They 
are opaque and might cover the defective tinting. Put on your gold again 
and give a light fire. It would be better perhaps to dust on a dark color, 
such as Black or Dark Brown, and then work out a design in white enamel, 
giving a cameo effect. Or why not shade your top with Browns, giving the 
effect of being intended, then cover with fine pale green enamel dots. This 
has been tried with good effect to remedy a spoiled Royal Green on Belleek. 
I would not run the lustre over the flowers if you try the first experiment. 
H. B.— There is no turquoise blue in lustre, the nearest color is Blue 
Grey. A dark green such as used on the Napoleon china is put up by Mrs. 
Leonard. It is called Empire Green. If this is darker than you wish, there 
is Fry's Poyal Green, a little lighter. Miss Mason also puts up an Empire 
Green. If none of these is the shade you wish, there are the lighter 
such as Coalport and Sevres Greens. You will find information in regard to 
the use of lavender with paste and enamels by reading the article on glass 
decoration in the August number. A little lavender can be used with gold for 
large surfaces, but is not good for fine lines, as it spreads. A miniature paint- 
ing on ivory brings usually a much higher price than on porcelain, because it is 
the fad, also because many prefer the ivory flesh texture. It needs more 
skill and work, but the porcelain has the advantage of being more durable 
and there is no reason why the flesh painting should not be fully as pleasing. 
We will criticize in the magazine any designs sent by subscribers, and return 
the studies if stamps are enclosed. 
Mrs. J. J. B.— A horn palette knife is best for gold, gold colors such as 
Carmines and Purples, for paste and enamels. The steel palette knife can 
be used with any of these materials, but is liable to darken or discolor them. 
The steel knife will also affect blues by making them colder in tone. 
