14 
KERAMIC STUDIO 
CONVENTIONAL VASE-ALBERT W. HECKMAN 
TREATMENT IN LUSTRES 
PAINT in all design with Roman Gold. Fire and burnish. 
Wash over whole vase with Yellow Brown lustre which 
has been thinned with lavender oil. Wipe out all flower forms 
and paint in the small ones and centers of large ones with Orange 
Lustre. Use Yellow Lustre for the largest flowers. 
Last Fire — Give whole vase a thin coat of Yellow Lustre. 
TREATMENT IN ENAMELS 
This design may be carried out in soft enamels on a Belleek 
vase. Leaves Green Enamel No. 2. Large flowers Dull 
Yellow Enamel. Small flowers Rhodian Red. The outer 
bands and parallel bands in design are of gold. 
•f f 
NEW ART BOOKS WORTH READING 
Anita Gray Chandler. 
"Impressions of the Art of the Panama-Pacific Exposi- 
tion',, by Christian Brinton. John Lane Company, $3.00. 
Illustrated with reproductions of paintings exhibited in San 
Francisco. 
"Palace of Fine Arts and Lagoon", by Bernard R. Maybeck. 
Paul Elder & Company, 50 cents. Illustrated. 
Both of these books should appeal to those who have seen 
the art of the Exposition and to those who wish they had. 
"The Beautiful Gardens of America", by Louise Shelton. 
Scribner, $5.00. This book is profusely illustrated with fine 
color plates and quantities of half-tones. It is especially appro- 
priate now when "in the spring a woman's fancy lightly turns 
to thoughts of — gardens.'" 
"Michelangelo", by Romain Rolland. Duffield. Illus- 
trated, $2.50. An English translation from the French, dealing 
with the life of the titanic Tuscan painter, sculptor, architect 
and poet. 
Ask for these at your public library. 
<f >? 
BEGINNERS' CORNER NOTE 
Among the prizes is an article by Mrs. H. C. Milner, who 
failed to give her address. Will this contributor kindly send 
it to us. 
i? & 
EXHIBITION NOTE 
The Ceramic League of Philadelphia will hold its 10th 
Annual Exhibition at the Plastic Club, April 28, 29 and 30. 
ANSWERS TO CORRESPONDENTS 
Mrs. J. S. — In doing Empire Tea Set from treatment in Jam Keravuc 
Studio, 1912, I did the design in Gold and painted the roses for first fire and tinted 
with Oriental Ivory for the second. I thought I got out all the color around the 
gold but it seemed not in places and turned the Gi een Bronze dark in places. Will 
it be alright if I go over it again or must it be removed? Also why is the green 
gold streaked? 
Have tried several places to gel the powdered zinc to burn in kiln to clear out 
the chimney but don't seem to find it. Can you tell me where to gel it.' 
The gold will probably come out alright the second time if it isn't very 
bad. You probably used the Green Gold too heavily, it should be applied in 
two thin washes. 
You can get the zinc from a druggist or chemist. 
A Subscriber — What medium is used for Malt colors, and are they mixed 
and applied the*same as glaze powder colors? 
Special oil for dusting is used, they are dry dusted on the same as other 
colors. 
M. H. — Will you kindly give me some information as to how one can mark, 
bands on china with a banding wheel? I have two small china, brushes but per- 
haps there is a special way of mixing the paint for I cannot make bands at all, 
the paint all leaves the brushes in a short lime from the starting point and the color 
thins out into nothing at all. 
A very long brush especially for the purpose should be used. Lavender 
oil is a good medium to use for thinning. It usually takes a good deal of 
practice to learn to use a wheel well. 
Z. B. — Is there anything I can put oner the unglazed parts of china so the 
gold or lustre wont be dull on them.' 
There is nothing that can be put on it. Dry Dusting is more successful 
over them than the Lustre or Gold. 
S. A. G. — What gold would bs best to use on a dinner set, Hasburg's Roman 
Gold or Liquid Matt Gold and hoiv many coats? 
2. How can that frosted appearance be obtained with Gold.' 
1. The Roman Gold is the bettor, liquid gold is not a good color, some 
people prefer Green Gold when the background is left white, two coats should 
be applied. 
2. You probably refer to the etched work, that is if the surface is 
rough. 
E. M. — Can you get a pretty effect to paint on matt colors when it is so you 
cannot dust them? 
2. Why do dark matt colors somet.mes have shiny spots in them' 
3. Is French china less liable to break in firing than German or Vienna? 
4. 7s it better taste to use enamels very high or rather flalf. 
5. I think enamel is so much prettier outlintd, is it more correct to leave it 
with no outline? 
6. Are all strictly conventional designs outlined f 
They do not come out as well when painted as they tire with a slight 
1. 
glaze. 
2. 
3. 
4. 
They are probably fired too strong. 
Not if you use a good piece of the German and Vienna ware. 
It is best not to use them too high as they make the work look coarse 
and heavy unless you are using them on a very large piece of china. 
5. The latest and better way is to use them without the outline as the 
effect is softer and prettier though it is not incorrect to use the outline. 
6. No, most people do not use the outline at all. 
