194 
KERAMIC STUDIO 
BEGINNERS' CORNER 
JESSIE M. BARD ------ Page Editor 
Dickinson Seminary, Williamsport, Pa. 
sible. Gold also wears off very easily if placed on the edge 
of any thing where it is handled. If a little color is desired the 
leaves may be oiled (see direction for this in the December 
magazine) and then dusted with Bright Green and the two 
small spaces in the center of flowers are oiled and dusted with 
Albert Yellow and the remainder of design is Green Gold. 
DESIGN BY MRS. F. H. HANNEMAN 
^ ? 
HOW TO ENLARGE OR DIMINISH A DESIGN 
READ the lesson in the November magazine in connection 
with this lesson for suggestions for the gold work and 
also for the tracing and transferring. 
This design can be used for any size plate. Take the 
measurement of the space between the two dotted lines in 
the design and measure it around the plate. If it does not 
come out even it will be necessary to make the section either 
larger or smaller according to the amount of space left. If 
when measuring the plate the last section is a little wider than 
the rest, divide the small remaining space into as many parts 
as there are sections, for example, if there are ten sections 
divide the small remaining part into ten and add the width 
of one of the tenth to your mark on the paper thus making 
each section a little larger, or on the other hand if when meas- 
uring the plate in the first place the last section is a little nar- 
rower mark the place where the paper laps over on to the 
first section and divide that amount of the lap into ten and 
make the space on the paper the 1-10 part smaller, thus making 
each section a little smaller. If the space on the plate came 
out the same as the design make a tracing of the design ac- 
cording to instructions in the above mentioned magazine. 
If the space is changed divide one of the sections on the 
plate in half, then fasten a piece of tracing paper on the plate 
and with outlining pen and ink draw a line corresponding to 
the edge of the plate and also mark the three section lines 
of the one section that has been divided in half. Lay this 
tracing on the design so the two outer edges are together and 
the middle line of section placed over the center of the flower 
and then make a tracing of the flower and transfer it to the 
plate. It may be easier for some to just draw the flower on 
the plate without tracing, a china marking pencil is used in 
that case. Next draw the stem line of the leaves and be sure 
that the space between the stem line and the edge of the plate 
is the same width all the way. Then draw in the leaves, 
watching the shape of the leaves in relation to the stem. If 
the section is just a little larger than the design, a tracing could 
be made of the leaves by putting the left hand line of section 
on the tracing over the same one on the design and trace this 
much on the plate and then fill in the remaining space between 
the stem and the flower with one or two leaves, whatever the 
space requires. 
If the section on the plate is smaller than the design this 
same method could be followed and the leaves nearest the 
flower may be omitted. 
When a tracing of a complete section is obtained transfer 
the design all around the plate. 
This entire design may be carried out in Gold. If the 
outer line is Gold do not carry it over the edge of the plate but 
just to the edge. Gold or color over the edge of china gives 
it a heavy appearance and china should be as delicate as pos- 
A FEW SUGGESTIONS FOR A BEGINNER 
Dora Kast 
WHEN taking up the art of china painting one must begin 
right. A good foundation is absolutely necessary in 
order to make a success of it; procure a good teacher and sub- 
scribe for a good art or crafts magazine. 
A pupil should begin on a small piece of china, as one is 
apt to be discouraged before a large piece is finished. Do not 
be afraid to "rub out" should the design be on a little crooked. 
This is often the case, one thinking it will be allright and 
no one will notice it when finished. Do not hurry, be accurate, 
ask your teacher questions, she will gladly answer them, have 
a note book and jot down things you wish to have for reference. 
Do not depend upon your teacher to do your painting or out- 
lining for you, do it yourself, have her correct your mistakes 
and thereby learn more and become self reliant. 
Study your design before applying it; also the coloring; 
for a piece of china to be used on the dining table and one on 
the library table would be quite different, as to design and 
color, although the dish might be the same. A "Beginner" is 
very apt to choose a design entirely out of proportion for the 
article to be painted, just because she likes it and it is pretty. 
Therefore a great deal of time must be devoted to the study 
of harmony, color and design in order to become a successful 
china painter. 
ANSWERS TO CORRESPONDENTS 
C. H. — 1. A friend ivas cleaning quite a valuable Terra Colta vase which 
famed the gold black. How can the gold be replaced? Can Terra Cotta be fired? 
2. / used Hasburg's Unflux Gold on a pair of Belleek salt and peppers 
The gold did not come out satisfactory. I applied a thin coat for the second fire, 
with no belter results. I used Mrs. 0' Hara's enamels and think another fire 
might spoil their brilliancy. What can be done with them? 
3. Directions say that special ivhite glaze should be dusted on china where 
the acid has taken off the glaze. How is this done? Can gold and color be 
painted over the glaze after firing with satisfactory results? 
1. If the cause is just a tarnish try cleaning with powdered whiting- 
Dip a cloth in water and then in the whiting and rub over the gold. A pow- 
dered pumice may also be used but should be used with care. The only 
other method would be to apply the gold again and fire, though at a great risk, 
for such ware requires a different heat than the china that is decorated. 
Probably some terra cotta works could give you some information. 
2. The trouble is probably an over-fire as gold over-fires very easily on 
Belleek and the enamels would require too hot a fire for the gold. There is 
no remedy except to apply the gold again and give a very light fire, hardly 
a baking. Repeated firing will not affect the enamels. The gold could be 
covered with enamel if the design will allow it. 
3. The space is oiled and then the glaze is dusted on. Directions for 
this are given in "The Beginners Corner" of the December magazine. Gold 
and color can be used over it satisfactorily, unfluxed gold should be used. 
A. B. C. — In a magazine for Oct., 1914, on page 121, Anemone motif by 
Albert IT. Heck man, in first treatment for 2d fire, is the entire bowl dusted over 
design as well as unpointed pari of bowl.' 
2. In second treatment, second fire, is it just the while unpainleil parts 
that are tinted? 
1. Yes, dust over the entire surface. After it is all dusted clean the color 
from the Mode only. 
2. The entire surface in this is also covered, design as well as white part. 
Answer to B. J.'S query in last issue of Keramic Studio. 
Dampen and stretch the vellum on a drawing board. Damp freely 
the worst side of the vellum with a broad flat brush and water (do not rub it 
(Continued on page 195) 
