Vol. VIII, No. 3 . 
SYRACUSE, NEW YORK 
July, 1906 
HIS issue of Keramic Studio 
is edited almost entirely by Mrs. 
Sara Wood Safford of New York. 
The October number will be 
edited in the same way by Miss 
Mabel Dibble of Chicago. Other 
issues by other artists will be 
arranged and will be announced 
later. 
We feel that this number 
speaks for itself and needs no justification or commenda- 
tion. We are sure that our readers will not only be pleased 
but will find Mrs. Safford 's work very helpful. 
THE CLASS ROOM 
The "Class Room" will have to be shortened for 
this issue but will go on as usual hereafter. The next 
subject for the Class Room will be "The Art of Teaching" 
a course for beginners referring to some designs published 
in Keramic Studio for illustration. This should explain 
just how to start a beginner, what kind of piece to work 
upon, what style of work to attempt, what steps to take 
in the work, etc., up to the advanced and finished work. 
A special extra first prize of $10.00 will be added to 
the usual prizes if a sufficiently good article is sent. Ar- 
ticles should be received not later than August 5th. 
000 
ETCHING 
First Prize — Mrs. G. B. Strait, Cazenovia, N. Y. 
Etching is the process of eating out a part or the 
whole of the glaze on china, covering the etched portion 
afterwards with gold to give a relief effect. The gold 
should be applied rather thickly with a small stiff brush, 
and the china should be the best quality of French ware 
obtainable. 
Etched china ready prepared for decorating is on the 
market, but the work may be done at home in an equally 
satisfactory manner. 
A small, rather plain design is best adapted to this 
purpose, such as a grape vine with tendrils, a simple frost 
design, Roman key pattern, delicate scrolls, or even 
rows of dots. 
PREPARATION OP GROUND. 
To prepare the ground for etching, draw carefully 
a design in India ink. Next heat the piece and while it 
is still warm pour over it some melted paraffine or wax, 
turning it about until as much of it is covered as is nec- 
essary, allowing the extra amount to run off. This will 
leave a thin coat of wax all over the portion to be orna- 
mented. 
Some successful workers melt beeswax in turpentine 
until it is perfectly fluid, after which it is strained through 
thin, fine silk. To this is added black Japan or Japan 
varnish in the proportion of 1 to 5, allowing more of the 
latter if the weather is very warm, and less if it is cold. 
The design may now be retraced with a steel point, 
leaving the pattern white. 
To this the pure hydrofluoric acid is applied either by 
pouring on, immersing, or applying with a thin piece of 
damp cotton batting wound tightly about the end of a 
stick. If the cotton is used, run the stick into the bottle 
until the cotton is wet, dip in a cup of water and at once 
apply to the china. The acid is allowed to remain 5 or 10 
minutes, or until the glaze is bitten into sufficiently. 
This may be determined by holding it under running 
water until perfectly cleaned, and if after removing a 
portion of the wax it is found that any part is not etched 
deeply enough, the process may be repeated as many 
times as is necessary. Flat pieces may be immersed in 
an acid "well" made in the form of a square wooden frame 
having a square three inches deep sunk in the center, 
painted several times inside with Japan black. This may 
be covered with thin cambric. 
Another method, the effect of which is the reverse 
of that produced by the use of the steel point in drawing 
is to draw the design and cover it with a thick coat of 
asphaltum which has been allowed to stand at least a day 
before using, moistening with turpentine as it grows thick. 
Draw a band on each side of the border with asphaltum. 
Now apply the acid to the background of the design 
until the glaze is nearly gone, and when the piece is washed 
the asphaltum may be removed by the use of turpentine. 
Wax may be removed by heating the piece. After the 
design has been covered with gold and fired it may be 
rubbed with sand or glass brush, and the raised parts 
and bands brightened with the agate burnisher. Ex- 
tremely delicate and rich effects may be produced in this 
way. 
Another method of etching is the use of the vapor 
bath. Fluor spar is placed in a shallow vessel and sul- 
phuric acid poured on it until the spar is covered. This 
produces hydrofluoric acid in vapor, and the article to 
be etched is placed over it until the fumes act upon the 
glaze and destroy it to any extent desired. 
No matter whether used in vapor or liquid form, ex- 
treme care in its handling must always be maintained, 
the operator being careful to avoid inhaling the fumes or 
allowing the acid to touch the flesh. 
The wearing of rubber gloves is advisable; and al- 
though the acid comes in gutta percha bottles it should 
not be allowed to stand near any china to be decorated, 
for even though tightly corked enough fumes will escape 
to injure the glaze. 
Clear water or soda water will relieve acid burns, 
after which vaseline may be applied. 
000 
Fourth Prize — Bertha Morey, Ottumwa, la. 
[extracts only] 
You can tell if the acid has eaten into the china by 
taking a hat pin and scratching along a line, if it seems 
rough, it is done; pour hot water on the piece and it will 
melt off the wax. 
Be careful not to inhale the fumes as they are injur- 
ious to the lungs and cause a heavy cough. 
[TO BE CONTINUED] 
