ftERAMIC STUDIO 
161 
ANSWERS TO CORRESPONDENTS. 
This column is onl, 
o not send stamped 6 
i this column. 
velopes for reply. 
D. B.C. — To intensify with powder color, is to rub the powder into the 
half dry painting, it makes the coloring much richer without being as 
heavy as dusted color. 
M. E. B. H.— To make true bauds on plates where one has no banding 
wheel the best method is to take a draughtsman's compass pen and after 
finding the center of the plate, paste a piece of paper on it, set the steel 
point in the paper and draw the circles in India ink which can then be 
followed in color. To find the center of the plate set it face down on the 
"plate divider" sold by Keramic Studio, mark on back four points 
forming the four divisions — turn over and extend lines across plate from 
point to point — the point of intersection will be the center. 
Mrs. M. H. G. — The powder color is difficult to handle in tinting, it 
almost always looks grainy, it is best to use the tube colors for this pur- 
pose. The general rule is to use as much fat oil of turpentine as color 
and flux combined, then thin with lavender until it no longer feels tacky. 
An insufficient amount of fat oil is usually the cause of graining in tint- 
ing. Also be sure and have a very fine silk for pad. If your colors look 
grainy iu painting they also need fat oil. 
Mrs. M. C. — There has been some doubt whether lustres are not af- 
fected by being fired in the same kiln with painted objects. We have not 
usually found much harm done in such cases, but it would be impossible 
to say that they are not affected. However, we have often used fresh 
paint and lustre on the same piece without any ill effect. A kiln with a 
fire clay muffle is best for lustres but we have seen them come out nicely 
in iron, well whitewashed. 
N. H. — You will find the design by Anna B. Leonard in this number 
very suitable for execution in gold over your dark blue rimmed plate. 
Belleek can be fired at the same time with white china iu the same kiln, 
(Revelation) by placing it in the front of kiln — but for the best results it 
should be fired alone and when you can see through the deep hole an even 
glaze over the piece it is time to shut off the oil. This is the only way to 
Are it right. 
Suggestion for pottery decoration by George Hoel. 
ESTABLISHED 1789. 
WW r 
in Colour 
ROWNEY'S Finest Grow. 
d.\ 
J , 
COLOURS Mos t Permanent}, IN THE MARKET. 
ARE THE Most Brilliant' J 
FOR SALeTbY ALL 
JH1GH CLASS ART DEALERS. 
IMPORTED BY 
The F. W. 'Devoe and C. T. %aynolds Co., 
101 Fulton Street, §Ns<w York. 
Favor, Uphl & Co., 
54 Tark Place, §Nie<w York. 
AND OTHERS. 
"FOOTPRINTS INTHE SANDS or TIME 
MARSCHING'S ^ 
^N GOLD 
'■■'- ; '1;§ 
MARSCHING'S GOLD .-. 
Costs more because worth more 
than others — -\ 
It is endorsed by all leading china painters and 
by A. Lacroix, of Paris, the famous chemist and 
authority on china colors and gold. 
It is sold everywhere, because it is in demand 
everywhere. Lacroix Colors and Marsching's 
Gold for sale by all dealers in Artists' Materials. 
FAVOR, RUHL & CO. 
WHOLESALE AGENTS, 
54 Park Place, New York City. 
When writing to Advertisers. Dlea.se mention this MugAtir, 
