152 
KERAMIC STUDIO 
ANSWERS TO CORRESPONDENTS 
E. H. — Will you kindly tell me what paint to use to give a vase the dull 
effect given to Richards china? 
The Matt colors are used. They are dry dusted on. 
J. K.— Please do not take my question as one of criticism but merely a 
puzzled mind of a beginner. In the May issue (1916) of Keramic in the "Ans- 
wer to Correspondents" one of the questions asked is: Are all strictly conventional 
designs outlined? to which you have answered "No, most people do not use 
outlines at all. Now I may possibly misunderstand the meaning of the statement 
but contrary to it all the photographic reproductions of the various conventional 
pieces of china displayed at exhibits, etc. are shown to have designs outlined with 
the exception of one or two. What is there to conventional work if there isn't any 
outline? 
The latest method is without the outline though a great many are still 
using the outline. You will notice that in the answer it said "Most people", 
etc. The idea now is to obtain as soft effect as possible so that the design 
blends in with the china. The dry dusting method is used. You will Dotice 
the lack of outline in the exhibits in the February and July, 1916 issues of this 
magazine. Very beautiful results are obtained without the outline as some of 
our best decorators have proven. 
M. L. K. — Kindly tell me whether there is a bobk published on the subject 
of Acid-etching and whether studies for same can be obtained? 
An article was published on this subject by F. A. Rhead in the July 
1911 number of this magazine and also one in the Answers to Correspondents 
in June, 1916. 
Designs could be obtained from the different teachers advertising in 
this magazine having designs for sale or rental. 
Mrs. A. P. H. — Is there any other process for acid etching on china beside 
dipping or applying with swab? 
No, there is no other method. 
A. S. — / used silver lustre in connection with gold and color on a sandwich 
set and the silver lustre came out milky. I repealed the lustre and refired a light 
fire only to have the lustre an ugly streaky milky effect. What can I do to make 
the lustre beautiful? 
There are several things that might be the cause of your trouble, either 
the lustre was old or you did not shake it up before using or it may not have 
been applied evenly. 
The lustre can be taken off your china with a "china eraser" and then 
applied again. 
G. R. M. — I notice under helpful hints by Sadie E. Allen in the August 
1916, Keramic that by drying the first coat of gold in the oven, one can put on the 
second coat before firing thus making only one firing. Can this really be done 
satisfactorily? I always had an idea it would run instead of harden on. Is 
this also true of color painting? 
Yes, it can be done. In applying the second coat of gold it will be nec- 
essary to brush lightly over the first coat in order not to lift it up. The gold 
will not wear as well as when fired twice but the effect will be good. No, 
colors can not be treated in the same way. The dry dusting method will 
apply the colors heavy enough for one fire. 
S. T. V. — My oil kiln fires rather unevenly. I do not mind it when I have 
pieces which need a light firing and others a hard one. I do my placing accord- 
ingly, but is there no way to bring a more even temperature when all the pieces 
need about the same kind of firing? 
As soon as you get a cherry red color, a little while before the end, shut 
the damper of your kiln partly, just to a point where the draft will be checked 
somewhat without bringing smoke in the muffle. This will make the end of 
your firing a little slower but will have a tendency to give a more even heat. 
The trouble with most china decorators is that they try to fire too fast, a too 
active draft will tend to make the floor of the muffle hotter than the top and 
the side toward the chimney hotter than the door side. But most important 
of all, as soon as the firing is over and the oil in your burner about burned out, 
shut your damper tight. This will diffuse the heat throughout the muffle 
and equalize it all over. After a few minutes open the damper and let the 
kiln cool off. This final diffusion of heat should be useful in glass firing 
but care should be taken to stop the firing in time. If carried too far, the 
sudden rush of heat in some parts of the kiln, caused by shutting the damper, 
might affect the glass. 
0. W. — After saved gold is in alcohol how may it be used again? I 
have kept the small bottle of alcohol clean and nothing but gold brushes have been 
cleaned in it? 
It can be taken to a gold refiner and refined and then prepared as you 
do any gold to be used on china or can be used for jewelry or other purposes. 
fl^M 
MEDALLIONS AND BORDERS, COLONIAL MOTIF 
ESTHER A. COSTER (Treatment page 148) 
