KERAMIC STUDIO 
jewels. First burn all outlines and give a coat of a mixture 
made of shellac dissolved in alcohol with a small portion of 
gum arabic. This will prevent the color from sinking into the 
wood and assuming a dull appearance. 
Proceed to paint in oil colors in a broad way using much 
Meggilp, also a mixture of three-fourths linseed oil to one- 
fourth turpentine. Use where possible the most transparent 
colors such as Olive Lake, Rose Madder, etc., as these seem to 
give the desired colored effect without making the excessive 
use of paint necessary. Do not attempt detail but keep the 
whole in simple poster style. For the background, simply 
stain with very thin color allowing it to sink in and show the 
natural grain of the wood. Good background colors will be 
found in Bt. Sienna, Bitumen, Yellow Lake, Olive Lake, and 
Gamboge. Good flesh tones are found in Lemon Yellow, 
Yellow Carmine, Rose Madder, and White. 
After the painting is thoroughly dry. work up the jeweled 
ornaments with any desired color of Lustre and lastly place 
the glass jewels as the design requires. 
These may be simply glued upon the wood or inlaid. The 
inlaying may be accomplished by removing the wood with the 
regular wood carver's tools, however, the simplest, neatest and 
by far the most rapid manner of removing the wood to exactly 
fit the jewel, is done by means of a dental engine, and its 
various shaped burrs. 
JEWELED LEATHER. 
Jewels such as described for wood can be procured with 
tiny holes in each side to enable one to thread them upon the 
leather. Conventional designs upon purses, card cases, folio 
covers, opera bags and portiere borders, are greatly enhanced 
in beauty by the addition of these jewels, made secure upon 
the leather with gold thread through the tiny holes through 
jewels. 
Simple spangles such as are commonly found upon fans, 
can also be used to advantage upon such articles as opera glass 
bags. They come in many colors in packages at ten cents 
Use gold or silver thread to secure them to the leather. 
o o o 
TABLE DESIGN (Pages 89 and 90) 
Mrs. Dante C. Babbitt 
THE design for this table is one-half actual size. Trace on 
design and burn. Put in background and retrace any part 
of outline not true and firm, burning especially deep on shadow 
side. Next shade. Stain the parts indicated by slanting 
lines, walnut. Give a spray finish, dry, wax and polish 
stained portion. 
o o o 
DESIGN FOR BOOK RACK 
James James 
TREATMENT for Horse Dragon design. Burn the outlines 
deeply. Treat the background boldly. Do not 
stain. 
CELTIC DESIGN FOR BOOK RACK— JAMES JAMES 
