KERAMIC STUDIO 
129 
colors with Anise Oil only and use a fine pen. I prefer a 
crow-quill, but that is a matter of individual taste. The 
latter way is more rapid, and for many a much neater and 
more perfect outline can be made, but even then, when the 
line comes too close to a tint or color it must be washed in. 
Next to an unfired outline, the brush and turpentine mixed 
paint is much safer than the oil. 
The proportion of colors and enamels given are for French 
china only. For softer glaze wares the proportions should 
be different. With these points in mind, and careful study 
of the treatment for each design, a student should be able 
to do most satisfactory work. If in doubt about a color, 
where several are combined, make a test by firing it on a bit 
of broken china, placing it exactly where the finished piece 
will be fired later. This is important. 
The service plate in the original was ten and a quarter 
inch, but has been reduced in printing. Also the plate 
with the two narrow bands in original was eight inch. The 
medlar flower plate was nine inch, and the plate with his- 
toric ornament a nine and three-quarter inch. These sizes 
are much more effective for the designs than smaller. 
Mabel C. Dibble 
STEIN 
HpHE plain Belleek stein is the most satisfactory for this 
* design. Dividing into thirds, outline in black, and 
fill in the top above design with un fluxed gold, using a little 
Lavender Oil to make it flow smoothly. A heavy line on 
handle is better than solidly gilded. Below the branches 
at base wash in Brown No. 4 or 17 and Brown Green No. 6, 
not blending them too much. Fire. For second fire, see 
that your gold is retouched where needed. Grapes in pur- 
ple and white, alternating. For the purple, Tight Violet of 
Gold, Dark Blue, touch of Brunswick Black and one-eighth 
of Hancock's Medium Enamel; shading the grapes and mak- 
ing some in a darker enamel of Deep Purple and Dark Blue, 
with Brunswick and the Medium Enamel. White grapes, 
use the Hancock's Medium Enamel — of course all the read- 
ers know that it must be first ground down with small 
quantity of Dresden Thick Oil and turpentine, as all powder 
colors must be when used as enamels — slightly tinted with 
mixture of Apple Green and Brunswick Black, making a 
greenish grey. When dry shade the grapes with a thin 
wash of this mixture. Leaves and stems or branches, green, 
using the lighter and darker greens as in other designs, the 
lighter for upper leaves, and shading some with touches of 
Brown or Violet of Iron, and making the under leaves of 
almost clear Brown Green No. 6 and Grey for Flowers, with 
the one-fourth Hancock's Medium Enamel. Work up the 
base with the Brown and Brown Green, using no enamel in 
the wash. Always use Hancock's Medium Enamel, or half 
and half of the Hard and Soft, on Belleek, and give a Belleek 
fire, and there will be no trouble with enamels chipping if 
they are properly applied to the china. 
COUP PLATE 
LINE the plate with seven circles in black. Outline 
entire design in black. Fire. Then fill in narrow 
bands behind single leaf design with dark blue enamel, Dark 
Blue, little Deep Purple and Brunswick Black (Dresden) 
and one-eighth Aufsetzweis, floating it in smoothly, but not 
too heavily. The large flower in dull soft blue. Use same 
mixture as above, only omit the Aufsetzweis; use a tinting 
oil to make it flow smoothly, and paint each petal, shading 
as in naturalistic work. Make the three small bands divid- 
ing petals in the dark blue enamel. The edge of plate and 
the other three narrow little bands, all of the leaves and the 
scrolls on edge of blue flower, all where it is left white in the 
design, make green, a soft dull green, Apple Green, a little 
yellow for mixing, equal amount of Grey for Flowers (Sar- 
torius) and small quantity of Brunswick Black, one-fourth 
Aufsetzweis. 
COUP PLATE— MABEL C DIBBLE 
