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RERAMIC STUDIO 
DESSERT PLATE, IN LACROIX DELFT BLUE ON WHITE CHINA— ROCK WOOD MOULTON 
ANSWERS TO CORRESPONDENTS 
This column is only for subscribers whose names appear upon our list. Please 
do not send stamped envelopes for reply. The editors can answer questions only 
in this column. 
All questions to be answered in the Magazine must be received before the 10th 
tiny of the month preceding issue. 
H. S. L. — We would advise a third coat of gold if the gold ground 
appears thin as well as scratched, otherwise another fire would improve 
the appearance of the gold by giving yon a chance to burnish with the 
glass brush and so avoid the scratches. The glass brush is usually most 
satisfactory for burnishing unless a high polish is desired, then burnishing 
sand and water can be rubbed softly over the surface with cotton wool in 
a circular motion. All pinks will fire purple if fired too hard, it is usual 
to give a light fire in retouching with rose. Also a horn palette knife is 
better for mixing pinks, and care should be used not to have the color 
too oily. 
M. C. — We consider that the beginner has fully as much help from 
the magazine as the more advanced decorator — rather more. The "An- 
swers to Correspondents" column is open to all as often as they please, 
and they will be given any possible information that they personally need. 
They have only to ask. 
You wish to know how to get Rookwood effects in overglaze. Rook- 
wood is underglaze. You could not get the effect without painting under- 
glaze and understanding all their secrets. But we understand you wish 
to gain something of the soft effect of Rookwood in overglaze. That is 
done, as described in all treatments for naturalistic studies given in Ker- 
amic Studio, i. e : By repeated dusting of colors on background and over 
the painting, after each painting. Yon say to tell you what colors to use 
for the three fires, but you do not say what study you wish to paint, nor 
which Rookwood effect you wish to get. The recent work is almost all 
in very light and delicate greyish toned oolor, but we presume you mean 
the earlier style of decoration in browns. In this case we would suggest 
Yellow Brown, Meissen Brown and Finishing Brown for your repeated 
dustings, until you reach the desired depth and tone of color. 
Every new kiln should be well fired once before using or if standing 
long unused in a damp place it should be well heated up before using. 
Yon can outline with colors and turpentine over unfired lustre, but it is 
better to put on your outlines first in powder color mixed with a thin 
syrup of sugar and water, and when dry lay your lustre over your outlines. 
"Modelling" some times means to paint a flower so that it shows 
form and roundness, but to model in raised paste or enamel means to 
raise some parts and leave others low to give something of the effect of 
the real flower. For modelling with Aufsetzweis use Lavender Oil, 
breathing on it if it shows a tendency to flatten from being too thin, or 
you can use turpentine for dots and lines for powder enamel, add oil of 
turpentine, just sufficient to hold the powder together. Powder flux is 
mixed with powder colors to help glaze them at a low temperature. Ivory 
glaze is a flux, which gives at the same time an ivory tone. It is liable to 
destroy reds if used over them. 
In painting a stein in Rookwood effect, let the ground tinting roll 
over the rim. Clean sharply and finish with or without a narrow line of 
color a little distance below. 
