H8 
KERAMIC STUDIO 
BEGINNERS' CORNER 
JESSIE M. BARD ------ Page Editor 
Dickinson Seminary, Williamsport, Pa. 
LESSON IN DRY DUSTING 
THRACE in the design according to instructions given in 
-■- the November magazine. Be sure that the lines are 
grey and narrow, grey lines are even more necessary for this 
work than for the gold. If not grey enough take a square 
inch of fine emery cloth or double sand paper and rub lightly 
over the heavy parts, care must be taken not to rub the line 
off entirely. 
Instead of painting the color on as it was in former years, 
the spaces are oiled and the dry color brushed over the oil, 
thus obtaining a much better quality of color. 
"Special Oil for Dusting" is used. For the design use a 
No. 4 pointed shader and for bands and larger surfaces a No. 
5 square shader. Dip the brush in the oil and work the brush 
lightly on the palette until nearly all the oil is worked out; while 
doing this care should be taken to keep the brush shaped well, 
the hairs should not be allowed to separate and, if a square 
brush is being used, it should be kept flat, then paint the oil 
over the darkest tones of the design. Be sure that every 
spot is covered and that the oil is even, not heavier in one 
place than another, or it will take more color where the oil 
is heavier and the result will be that the color will be darker 
in some places than others when fired. Be sure to go over the 
lines, for the ink lines will fire 
away and then you will find 
that you have ragged edges. 
While putting on the oil hold 
the china so the light reflects 
on the place where you are 
working and in this way you 
can see that the oil is being 
applied evenly and that no 
places are missed. 
Almost all beginners have 
a tendency to apply the oil 
too heavily, it should not 
look thick and oily when 
finished, you should hardly 
be able to see that oil has 
been applied. If it looks too 
oily some of the oil can be 
removed by padding, (see 
article "A Suggestion", the 
November magazine.) The 
oil should be touched lightly 
with the pad and then the 
hand drawn back instead of 
pressing the pad against the 
oil. Pounce evenly, do not 
pounce in one spot five or 
six times and then go to the 
next spot but touch each spot 
once or twice and then go to 
the next until you have been 
round and if it still looks 
too heavy repeat the process, 
in this way one spot will not 
be spotted more than an- 
other. 
Put the dry powder color on a piece of glazed paper or a 
piece of china, newspaper or any other soft paper is apt to 
rough up and leave particles of the paper in the color. For 
the dark tone use two parts Water Blue and one part Pearl 
Grey. To obtain this proportion put out as much of the blue 
as you think necessary and divide it into two equal piles, then 
put out a pile of the Pearl Grey the size of one of the blue piles; 
mix well together with a palette knife, crushing out all lumps. 
Drop a palette knife full of the dry powder color over the 
oil and then take a new No. 8 square shader and brush the 
color over the oil with a very light touch, the brush must not 
touch the oil but just brush the color over it, continue to brush 
the color on until the oil will no longer take any. The color 
should look dry and not moist. When all the oil is covered, 
take a sharp pointed orange stick and scratch off all the color 
that may have gone over the line and straighten lines where- 
ever necessary. Then oil the grey space in the design and 
dust with four parts Coffee Brown and one part Yellow Red. 
Oil handles and grey bands and dust with four parts Pearl 
Grey, one part Dark Grey and one half-part Water Blue. 
BREAKFAST SET— M. A. YOUNG JOHN 
