74 
RERAMIC STUDIO 
the uncovered oil. The extra color may now be dusted 
off on a paper laid under the piece for the purpose, and re- 
placed in the vial. 
If after firing the tone is not deep enough, the process 
may be repeated the next fire. 
When Velvet Rose, Ruby, Roman Purple or Maroon 
are used for grounding, the oil must be used thinner than 
for other colors, as otherwise they may scale in firing, or 
what is equally unfortunate, may fire a heavy, disagreeable 
brown, with no richness or transparency. 
Whether grounded or dusted, all extra powder color 
must be carefully blown off before firing, as otherwise it 
is liable to come off and settle on some other piece in the 
kiln. 
Dusted colors should never be dried by artificial heat, 
as the oil, which keeps open for a considerable time, may 
cause the colors to run. 
In case the paint blisters in firing, the defective spot 
may be sanded off and retouched wth the color used or 
if in a really serious condition the place may be cut out 
with a small knife until in as even a condition as possible 
when it may be further smoothed by the use of pumice stone 
then repainted. 
Never remove a grounding color from a design, no 
matter whether mat or bright colors are used, until the 
surface is hard and dry. A sharp knife or erasing oil 
may then be used. 
REMOVING DRY COLOR. 
A good, practical eraser for removing dry, unfired 
color, is made by pouring several drops of fresh tar oil, 
procurable at any drug store, on the palette, rubbing a 
few shavings of good hard soap into it with a palette 
knife until it may be put on the painting without running. 
The tiniest particle of lamp black may be added so 
as to render it plainly visible when applied. As this 
preparation thickens it may be thinned with turpentine. 
Take a brush heavily charged with the eraser, and paint 
over the thoroughly dry color that must be removed. 
In a short time, by wiping over the place with a small 
piece of cloth, the eraser and paint will both come off, 
leaving the china perfectly clean. In order to avoid in- 
juring the adjacent tint, it is advisable to wipe from the 
edge toward the middle. 
Fire hard enough to produce a good glaze at first, 
for if the strength is lost it may be regained by the after 
paintings, while it is impossible to obtain an underglaze 
effect without this hard fire. If the coat is heavy it must 
be fired slowly to avoid blistering. 
TINTING, BACKGROUND, ETC. 
In a background always avoid a medley of colors. 
Do not overwork, but strive for fresh, pure tones in a 
broad, simple way, working with as large brushes as are 
permissible, keeping the background really subordinate 
to the subject. 
An artist once remarked that the greatest compliment 
he ever received on backgrounds was when a critic, on 
being asked concerning a ground he had painted, said, 
"I didn't notice what it was like, though of course it had 
one." 
Decide what colors are to be used before beginning 
to tint, using such as will produce a harmonious effect, 
allowing no overworking of them. Let there be no sudden, 
"jumping off" place in the tints, but let the gradation be 
so subtle that one color really melts into another, as del- 
icacy is one of the principal qualities sought for. 
In naturalistic work use the same colors in the back- 
ground that are found in the subject painted, possibly 
adding blue to give atmosphere. When large white 
lilies and lilies of the valley are painted, the addition of 
soft pinks and yellows in the ground will be charming; 
while with blood root blossoms a touch of the blue of the 
scylla will be effective. 
In flower or fruit decorations the darkest color should 
come from back of the brightest part of the design, shadowy 
foliage being softly painted into the background, making 
them supplementary to the prominent cluster, and leav- 
ing no hard, tight edges. 
When several colors are used in a background they 
are usually put on clear and blended into each other, 
though occasionally they are mixed before applying. Re- 
peated paintings and firings are the best way to secure 
rich dark tints free from streaks. 
For tinting, the mediums that may be bought ready 
prepared for the purpose are good or any of the formulas 
recently published in the "Class Room" may be used. 
The rule— as much fat oil as color, made thin with laven- 
der oil, — is excellent. 
METHODS OF APPLYING TINTS. 
It is well for the beginner to tint some flat object 
in monochrome until accustomed to the handling of the 
brush, then with a large brush slightly moistened with 
the medium and the tip touched into the color, go quick- 
ly over the whole surface to be covered with light firm 
strokes, allowing the brush marks to touch each other. 
While still moist, pad lightly over the entire surface 
not touching the same place twice unless it is to remove 
some spot where the tint is too heavy; or if left too oily 
and it settles in spots it may be softly repadded when part- 
ly dry. Where one part of the tint is to be darker than 
the rest, paint heavier in that portion and pad from the 
lighter part of the tint toward the dark. 
The iron reds may fire out if too thinly painted, but 
this can be remedied in subsequent firings, as the same 
colors may be used again. 
If the paint settles in spots that will not soften under 
the blender, it proves that the paint is too dry and should 
be removed. 
Where one is skillful it is well to paint the background 
before the design, then finish the piece at one sitting, as 
in that way the edges are kept softened. 
A wash of color over a well dried tint is possible, but 
requires considerable skill to do well. Defective work 
may sometimes be covered by an irregular design of lines 
in gold or black, etc., but this is seldom satisfactory. 
If a tint is marred by a touch or by dropping oil or 
turpentine upon it, pad as quickly as possible in order to 
remedy the accident. 
If this cannot be done, remove at once with alcohol 
or turpentine and begin again. 
DUSTING. 
As it is a difficult matter to put on a deep tint wet, 
the practice has grown of putting dry powder color on a 
damp surface painted over with colors in the usual manner. 
This treatment not only deepens the color tones, but 
the additional flux from the extra amount of paint pro- 
duces an unusually high glaze. 
The dusting process may be repeated any number 
of times if retired between each coat, and the same color 
used on the painted surface is generally used in dusting. 
The method of application may be briefly described 
