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RERAMIC STUDIO 
the spaces of the design unit. Where a large repeat pattern 
seems to need additional spotting, according to its spacing, 
a supplementary block of harmonious design can be used 
between the larger printed masses, bringing them together. 
The use of blocks in this way will afford many interesting 
variations. 
The block in Illustration No. 4 is repeated in Illustra- 
tion No. 6 on unbleached linen for a pillow top, and No. 5 is 
used in Illustration No. 7 on silk for a scarf. The back- 
ground of this border is filled in with embroidery. No. 8 
shows a ship pattern on unbleached linen. A unit has been 
inked on the photograph. The other illustrations show 
design units as registered from wood blocks. With the 
exception of Illustration No. 8 the blocks illustrated were 
made by the students of the normal graduating class, 
Pratt Institute, Brooklyn, N. Y. 
As oil colors are apt to run on silk, the following mix- 
ture might be used for it : 
1 oz. acetic acid. 
1 oz. oil of wintergreen. 
1 pt. spirits of turpentine. 
Mix these in a bottle, let stand awhile, and shake thoroughly 
before using. Use smaller quantities in proportion . 
To insure the permanence of printed cloth, let it stand 
thirty days. The thinning fluid is then dried out and the 
body color remains firm. 
ANSWERS TO CORRESPONDENTS 
S. F. P. — The old piece you speak of is either glass or old glassy soft porce- 
lain, cannot say surely, from your description. It would be very unsafe to 
fire it in your overglaze kiln, as you do not know to what temperature to fire 
it. If you put it in the same firing as your overglaze painting, it will be 
absolutely spoiled. You might try to fire it at glass firing or a little higher, 
but it is exceedingly risky. 
Mrs. G. D. — For banding large pieces in color mix as for tinting,"as"much 
fat oil as color and flux combined and thin with oil of lavender to the desired 
depth of color. 
Mrs. C. E. F— See article on gold etching in July, 1903, Keramic Studio. 
M. D. B. — For thinning bright gold and lustres use oil of lavender. We 
will give articles on the making of grounding oil and other mediums in an 
early number of the "Class Room." We have no formula at present. 
M.L. — See articles on Enamel in November, 1905, Keramic Studio for a 
mixture of color such as § Royal Blue, ^ Copenhagen Blue to which is added 
^ Black. When the color is mixed then add it to the enamel in the pro- 
portions mentioned in the "Class Room," as if you were using a single color 
Write to the President of the National League, Mrs. Belle Vesey, 6228 Wabash 
Ave., Chicago, 111. She will give you the desired information as to the 
league, its exhibitions and its aims. For burnishing Bronzes usually the 
glass brush is sufficient; if not, use burnishing sand and water. If you bur- 
nish carefully there is no need of taking off the lustre which is next to it and 
which should be put on first for the same fire. Blue lustre* harmonizes best 
with soft yellow browns, of various shades. For the tree vases, the high 
CENTRE DESIGN OF FIRE PLACE MARY OVERBECK 
