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.dt The Project Gutenberg eBook of The China Painter Instruction Book, by George Erhart Balluff

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.h1
<xl><i>The</i></xl>||<xxl>CHINA PAINTER</xxl>||<l>INSTRUCTION BOOK</l>
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[Second Edition]

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PUBLISHED BY

<xl>THAYER & CHANDLER</xl>

CHICAGO
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<s>Copyright 1914, by Thayer & Chandler.</s>

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.pm ct 'TABLE OF CONTENTS'
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.ta lr
|Page
Color Mixing|#3#
Color Combinations|#5#
Conventional Style|#7#
Flower Painting|#15#
Leaf Painting|#16#
Fruit Painting|#17#
Figure Painting|#20#
Tinting|#23#
Ground Laying|#24#
Dusting|#27#
Outlining|#28#
Cutting Out|#30#
Pads and Dabbers|#31#
Slow or Quick Drying Colors|#32#
Paste or Relief Work|#33#
Gold|#35#
Gold Burnishing|#37#
Lustres|#38#
Matt Colors|#42#
Banding|#43#
Oxidizing of Colors|#45#
Glazing of Underfired Colors|#46#
Chipping of Colors|#47#
Enamel Work|#49#
China Repairing|#52#
Firing China|#54#
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.pm ic illustration_003.png 273px 'palette'

.pm ct 'MIXING OF THE CHINA COLORS'
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There are many things of which the beginner in china
painting should be reminded. It is most essential that he has
clean tools and well mixed colors before attempting any work.
To be sure poorly ground colors are more quickly and more
easily prepared, but nothing but the very poorest results can be
obtained from such haste.

After placing a small quantity of powder color on a
clean slab and enough mixing medium to make a thick paste,
blend the two together with a small palette knife, working
with a rotary motion. See well to it that no particles are left.
When blending, keep the palette knife as flat as possible, as
there is danger of breaking it if bent too much. Mix well
until the color is a smooth paste. It will be found well
to put a small amount of the mixing medium in a small dish
and use from that, rather than pouring it from bottle.
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When thoroughly mixed, put the color on one side of the
palette. Blend another color and place next to the other one
on the palette. Proceed in this way until all the tints wanted
are prepared. It will be found that some colors take longer
than others to grind, owing to their stony nature. In this case
a little patience is necessary for best results.

Have a clean cup of turpentine and a small dish with a
few drops of light working medium at hand. Use a clean,
square brush. Take the color desired, rub down on the
palette so as to have all of the brush moist with it, and apply
to the china, of course it is understood that before beginning
the work, the design has been carefully drawn on the china,
either with a wax pencil or India ink and pen. This drawing
will disappear in firing.

If the design is carefully drawn on the china, it will
assist the decorator in easily placing the tints where they
belong.

Wash your brush in turpentine, when changing colors,
and be sure to press the turpentine out with a cloth before
dipping the brush into another color.

Care should be taken to see that all colors are applied
evenly, always using the brush flat.

Never hesitate to erase the design and repaint the china,
in case it is not entirely satisfactory. This may seem a little
discouraging but the result will reward one for the additional
labor.

It is very necessary to clean all brushes and palettes used,
when through working. Brushes become hard when colors
are allowed to dry in them.

Throughout this work we devote special chapters to the
various features of china painting such as lining, mixing of
colors, etc., and with this lesson we feel that the beginner
has a fair start; she will soon learn what the different combinations
of colors will produce. For instance, blue and purple
or blue and ruby make violet. Blue and yellow make a green,
green and a little black make gray, reds mixed with black
make brown. Do not mix lustre colors as results will not be
satisfactory.
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.pb
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.pm ct 'COLOR COMBINATIONS'
.sp 2

One feature of china painting that requires much study
and consideration is the combining of colors. A design that
would be most attractive if the colorings harmonized, would
be almost a failure otherwise. Browns go well with nearly
all colors, but not as well with greens and blues as with some
others. Clear blues, with perhaps the exception of the darkest
blues and Copenhagen, are not very satisfactory for borders.
A border of this combination, however, is very effective.
A beautiful shade can be produced by combining yellow brown,
finishing brown, ivory yellow and just a little touch of
gold.

Violet of iron and auburn brown on a grayish ground,
combine very well.

Pearl gray with Copenhagen blue gives a soft effect.
Ivory goes well with yellow-greens, and violets with grayish
tones.

A piece of china done in yellow tones, with say a conventional
motif decoration, or yellow flowers, looks well with
a scroll of gold worked into it, and should have a yellow
background. If delicate effects are desired, yellow cannot be
used successfully. For soft backgrounds, auburn brown,
violet of iron, new green, olive green and Copenhagen blue
are very good.

A design in gold on a broad border of Copenhagen is
both beautiful and effective. There are few decorations
stronger than this. For Turkish effects peacock and Sultan
green are used principally. A little yellow, green, blue, black,
red and dark brown can be used with success in this style of
decoration.

A design in silver is very attractive on either a dark gray
or green decoration.

Strong and decided contrast in colors, almost always produces
pleasing results. Among the best are black and yellow,
black and red and black and yellow-green. Rose and red do
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not go well together. Neither does blue or blue-green go well
with red, but red and olive green contrast well. For a beautiful
dark blue, mix banding blue with about one-fifth part of
hair black. Ivory yellow or light green look well on a dark
green band, and gold on maroon. To produce a good maroon
use ruby purple and one-sixth part of peacock green.

A very beautiful color that we can hardly name, comes
from mixing three parts of peacock green with one part of
crimson purple. The result is about a deep steel blue.

If a dark green ground is treated with ruby or crimson
purple, before the second firing, it produces a very warm
effect.

Combine one-fourth of Russian green with Copenhagen
blue and you have dark gray.

Yellows destroy red and should never be mixed.

A very delicate blue-gray can be produced by mixing
turquoise blue and about one-sixth of black. Use more or less
of black as desired.

Violet and brown makes a striking color. A light wash
of hair brown or Meissen produces a tan.

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.pb
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.pm ic illustration_006.png 600px 'Conventional'

.pm ct 'CONVENTIONAL STYLE PAINTING'
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The old-fashioned naturalistic style of china decoration is
a thing of the past. One sees almost nothing of that sort in
the metropolitan exhibitions, because patrons of Keramic art
are weary of a type which admits of so little variety and individuality.

Flowers and fruit have gradually been shaped into designs,
and these in many cases are so conventionalized that
they have lost almost all resemblance to the original form.

There can be no doubt that conventional work has come
to stay, and there is a distinct gain in this. Endless opportunities
are opened for the artist to show character in both
composition and color.

The china painter of yesterday spent her time almost entirely
on color. The natural flowers were often placed almost
anywhere on the china and were admired for color and treatment
alone.

No wonder Keramics was not considered an art!

To-day the artist <i>thinks</i> before she touches the color work.

A design should suggest the shape to which it is to be applied,
and proportion plays an important part. A plate, for
instance, with too wide a band is a pitiful thing, and a design
that is not properly bound together is to be shunned.

A low stocky looking piece may be treated with a motif
used once on either side and connected with a gold or color
band. It is a common mistake to try to bind the body of a
teapot, or similar article, and the spout and handle! The two
latter are entirely separate and demand other treatment.

Plenty of plain background will enhance the effect of the
design. One can easily overload a piece of china with a design
good in itself but too elaborate and large.

The first law of conventional design is that each form
must be outlined. When this is done the decorator should
have a comparatively easy time, and a remarkably interesting
one, for conventional work is adapted especially to wonderful
color combinations.
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The colors, as a rule, are more effective when laid on in
flat tones. Shading is not at all common in strictly conventional
work, and one does not necessarily adhere to the colors
nature has chosen for the object which suggested the design.

Enamel and lustre are especially fitting to conventional
design, and gold may often be used for flower or leaf form
where in naturalistic painting it would be entirely out of place.

For a long time keramic artists looked askance at the new
style because of the amount of work required in outlining.
This was a tedious affair involving a fine brush or pen, paint
or ink, which refused to work right, and endless endurance.

All this has been overcome by means of new process outline
designs which fire into the china distinctly and form a
black outline around the painting. Those who are ambitious
may now make a reputation without ruining their eyesight or
taxing their patience.

.pm ileft illustration_008_a.png 90px

<i>Conventional Single Yellow Rose.</i> Primrose
Yellow shaded with Apple Green toward centre;
stamens may be Gold or Dark Brown. Light leaves
are painted with Moss Green shaded with Shading Green and
dark leaves may be laid in with a mixture of Apple Green and
a very little Deep Purple. Stems are painted with Auburn
Brown. A good background for this scheme is Gray Green
lightly applied.

.pm ileft illustration_008_b.png 162px

<i>Conventional Wild Rose.</i> Paint with
Sweet Pea Pink with very delicate application
of Apple Green toward centre.
Stamens are painted with Ruby and center
dot may be Gold. Leaves are laid in with a mixture of
Apple Green and very little Deep Purple. Roman Gold or
Turquoise Lustre is effective as a background for inside if
design will admit. For outside of design, or general background,
use Oriental Ivory.
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.pm ileft illustration_009_a.png 157px

<i>Conventional Double Pink Rose.</i> Use
Sweet Pea Pink and shade with Standard
Pink in centre. A very pleasing color scheme
for leaves is Yellow Green Lustre shaded
with Dark Green Lustre. A Pearl Gray background is suitable
for this combination.

.pm ileft illustration_009_b.png 177px

<i>Conventional Rose.</i> These may be
treated in either Lustre colors or regular
powder colors. A suitable color
treatment for lustre decoration is as
follows: Lay in a flat wash of Orange
or Yellow-Brown Lustre except in centre, this may be Gold.
For leaves use a wash of Light Green and shade with Dark
Green Lustre. Stems may be Brown or Dark Green. Mother
of Pearl is a suitable background for this treatment. For regular
powder color treatment, apply thin wash of Sweet Pea
Pink with a touch of Standard Pink in centre. Leaves may
be painted in with Apple Green shaded with Shading Green.
Stems may be Auburn Brown or Apple Green mixed with
just a touch of Deep Purple. Oriental Ivory or Gray for
Flesh is suitable for background. Either tint will harmonize.
The color for roses can be varied to suit individual taste.
Primrose Yellow, Blood Red and Rose are all suitable colors.

.pm ileft illustration_009_c.png 187px

<i>Conventional White Primrose.</i> Let the
plain White China answer as white flowers,
touch centres with Pompadour. Stamens
may be of Gold. A good background for
such a color scheme is Pompadour with a
touch of Albert Yellow, and Sea Green
with a touch of Black mixed with it.
Standard Pink, Primrose Yellow, Violet
and Blood Red may be used for the flowers
if preferred. If bright colors are used, keep background
toned down with Gray.
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.pm ileft illustration_010_a.png 160px

<i>Conventional Hawthorne Berry.</i> For
berry, use a mixture of Standard Pink and
Yellow Red. Centre may be Black. Leaves
should be painted with Moss Green shaded
with Shading Green or Apple Green mixed
with just a little Deep Purple. Auburn
Brown can be used for stems. A flat band
to harmonize with such decorations may be laid in with a
mixture of Empire Green and Russian Green. Hawthorne
berries and leaves may be treated in Lustres as follows: Berries,
Silver Lustre centres shaded with Dark Green Lustre.
Background, Mother of Pearl Lustre.

.pm ileft illustration_010_b.png 175px

<i>Conventional Columbine.</i> The colors
of this flower are so varied so we will of
necessity treat only a few. Banding Blue
(pale) or Sevres Blue are both very suitable
for Blue tints, Primrose Yellow and
Albert Yellow tints. Rose, Sweet Pea Pink
for Pink tints, and Violet for Violet tints. A very light application
of Violet should be applied for light tones and a mixture
of Violet and a little Banding Blue for darker tones.
Use Best Black for stamens. Leaves are laid in with a light
wash of Apple Green and shaded with Shading Green. Gray
Green and Oriental Ivory are both suitable for backgrounds.
Combinations of Violet Lustre and Mother of Pearl Lustre
are also effective for background tinting.

.pm ileft illustration_010_c.png 121px

<i>Conventional Poinsettia.</i> Flower should be
laid in with Yellow Red shaded with Blood Red
toward centre; Yellow Brown is used for stamens.
Leaves are painted with Moss Green or
Yellow Green shaded with a mixture of Apple
Green and very little Deep Purple or Shading
Green. Copenhagen Blue may also be used for
leaves in extreme shadow.
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.pm ileft illustration_011_a.png 171px

<i>Conventional Cyclamen.</i> Apply a wash
of Standard Pink for flowers. Blood Red
may be used for Deep Red effects. Leaves
may be painted with a mixture of Apple
Green and a touch of Deep Purple or with
clear Olive Green. Background for this combination may be
Roman Purple or Violet Lustre. For yellow flowers use
Primrose Yellow mixed with Albert Yellow, with back petals
of pale Meissen Brown. Leaves may be laid in with Moss
Green and stems with Shading Green. Roman Gold makes an
effective background for above the design and Oriental Ivory
for below.

.pm ileft illustration_011_b.png 310px

<i>Conventional Grapes.</i> A
light wash of Roman Purple
should be used for large berries
and darker application
for smaller berries. Silver Lustre may
be used for small berries at the bottom
of cluster. To work up the design in
semi-lustre effect, Silver Lustre may be used for leaves, and
stems laid in with Black. Royal Copenhagen Gray background.

.pm ileft illustration_011_c.png 380px

<i>Conventional
Apples.</i> Apply wash
of Primrose Yellow,
shade with Yellow
Red. Another effective
combination is
Yellow Red shaded with Blood Red. Leaves may be painted
Moss Green shaded with Shading Green. Stems should be
painted with Auburn Brown. For background use Copenhagen
Gray, shaded into pale Violet mixed with a touch of
Black. A very pretty lustre effect is to lay in some of the
fruit with Orange Lustre and others in Roman Gold. The
leaves may be painted with both Lustre and painting Tints—some
may be Orange Lustre and others Meissen Brown color.
Stems should be Auburn Brown. An artistic background
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would be either clear Oriental Ivory or Oriental Ivory mixed
with a touch of Black. It must be borne in mind that these
color schemes are intended to be used strictly in connection
with conventional New Process Black Outline designs. They
are not intended as suggestions for natural style painting. It
is not advisable to make use of these instructions unless in
connection with black outlines.

.pm ileft illustration_012_a.png 245px

<i>Conventional Oranges.</i> An appropriate
conventional style decoration
for oranges would be to lay
in the foremost one in Roman Gold
and those showing only partially in
Yellow Brown Lustre. The flowers
may be left plain White with touch
of Gold in centre. Use Green Lustre
for leaves and Dark Empire Green and Auburn Brown
may be used for stems. In background of Celestial Turquoise
put in a few touches of Meissen Brown next to fruit and under
leaves. Warm Gray or Oriental Ivory with touch of
Black mixed with it may also be used for background.

.pm ileft illustration_012_b.png 185px

<i>Conventional Poppies.</i> For a cluster
design the centre flower may be painted
with Light Carnation, others with Sweet
Pea Pink. Poppy Red and Yellow Red
are also suitable tints. Stamens should be
painted with Black or Violet mixed with
Black. Seed pods may be painted with
Gray Green tipped with Black. Leaves
and stems may be laid in with Apple
Green shaded with Shading Green. For
background use Oriental Ivory mixed with touch of Black.
For lustre decoration use Rose Lustre for centre flower and a
thinner application for outside flowers. Seed pods may be
Gray Green painting color and stamens Gold. Leaves may
be painted with either Light Green Lustre or Apple Green
painting color. Stems should be the same. Background of
Mother of Pearl Lustre or Oriental Ivory painting color.
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.pm ileft illustration_013_a.png 190px

<i>Bittersweet.</i> Some of the berry forms
Yellow-Red, others Albert Yellow mixed
with Pompadour. Moss Green is a very
good tint for upper leaves and Apple
Green mixed with a touch of Deep Purple
for lower leaves; a touch of Black may be
added to this mixture for darkest leaves.
Auburn Brown should be used for stems.
Background of Oriental Ivory mixed with
a touch of black is effective for such an arrangement.
If the design is a panel effect
bordered with bands, Gold may be used to
good advantage for bands.

.pm ileft illustration_013_b.png 210px

<i>Tulips.</i> If the design be a cluster,
the larger flowers may be painted with
pale Primrose Yellow shaded with Yellow
Green at base. If any petals turn
or curl back into the background these
may be laid in with Violet of Iron.
Sweet Pea Pink and combinations of
White and Pink (striped) may be used
with good effect for other flower forms.
Stamens may be painted in with black.
For leaves use Yellow Green or Gray-Green
at top, shaded into Royal Green,
and at base use Shading Green. For
background use Royal Copenhagen Gray
from a very light tone at top shaded into deeper tones at
bottom.
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.pm ileft illustration_014_a.png 305px

<i>Nasturtiums.</i> This popular
motif may be painted
in a great variety of color
schemes. For Yellow flowers
use Primrose Yellow (various
shades). Ivory Yellow and
light application of Yellow-Brown.
Pinks and Blood Red
may be used for other shades
and mixture of Blood Red
and Auburn Brown for Mahogany
shades. Light leaves may be laid in with Apple Green
mixed with Gray Green and deeper ones with a mixture of
Apple Green and a touch of Deep Purple. Moss Green mixed
with Gray-Green is also a good combination. For background
use Auburn Brown next to the design, blended into Oriental
Ivory.

.pm ic illustration_014_b.png 200px ''
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.pb
.sp 4
.pm ic illustration_015.png 600px 'Flowers'

.pm ct 'FLOWER PAINTING'
.sp 2

It would be impossible in this small work to go into detail
of this subject, considering the number of flowers we would
have to deal with—consequently we will deal only with the
most popular subjects. When painting an American beauty
rose, paint the center and shadows in crimson purple, mixed
with about one-sixth part of darkest green. The half shadows
are done in crimson purple, leaving the lighter parts white.
Use colors of medium thickness. The piece is then ready for
the first firing.

Next go over the light parts with American beauty color,
but treat the shadows with crimson purple. Be especially careful
about keeping the shape of the rose as true as possible.
Use crimson for the detail work of the petals. Fire the second
time.

If a third firing seems necessary, retouch, using the same
colors.

When very delicate shades are desired, in rose painting,
a light dusting of brown-green toward the centre will prove
effective. Some of it can be dusted over the background.
This should be done before the second firing. The centre of
a rose should always be a pure rose color. If colors are
applied too thickly, they are sure to chip off. It has been
learned by experience that dark greens are the most satisfactory
to use with purple or ruby when dark effects are needed.
Blacks and browns mixed with purple usually oxidize.
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.pb
.sp 4
.pm ic illustration_016.png 600px 'Leaves'

.pm ct 'LEAF PAINTING'
.sp 2

The average artist pays too little attention to the foliage
in flower painting. He starts out to paint a flower and the
leaves seem like a secondary consideration. Any handling is
often thought to be good enough. This is a great mistake, as
the treatment of the leaves may be the making or marring of
a decoration. Many people are of the opinion that they are
very easy to paint. This is another mistake. They are just
as difficult and require as careful handling as the flowers or
fruit itself. It would be very hard to give definite instructions
on this subject. The many varieties with their various
beautiful edges and veinings, need individual handling, just
as much as flowers do. The shape of the article on which the
decoration is placed, has much to do with the handling.

There are, however, a few rules that will generally apply.

Leaves must present a crisp appearance. To accomplish
this, the color should be applied with as few strokes as possible.
All detail work must be left for the second firing.
Large regular leaves can be completed with two strokes—using
the dark color for one and lighter color for the other.

The student should aim to make irregular leaves as simple
as possible. It stands to reason, however, that more strokes
will be necessary for these than for regular ones. In china
painting, lights are supplementary. It is the shadows that give
real character to the subject. These should be fired first, and
the lights second.
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.pb
.sp 4
.pm ic illustration_017.png 570px 'Fruit'

.pm ct 'FRUIT PAINTING'
.sp 2

One of the important points of fruit—and flower painting
as well—is the proper form of leaves. Some decorators fall
into the habit of painting leaves of blackberries, currants,
grapes, plums, etc., all in the same irregular and ragged manner
for which there is no excuse other than lack of experience
or painting leaves from memory. Above all we advise the student
to study the different leaves carefully. There is such a
variety of fruits and flowers that volumes could be written in
describing them, so we will confine our efforts to instructions
on painting the fruits most commonly used as designs for
china painting. These are blackberries, cherries, currants,
plums, grapes and a few other varieties. <i>Blackberries</i> and
<i>wild cherries</i> are laid in with a wash of black for the first firing,
which should be applied only on the dark side of the berries.
The light part and the highlight should be left pure
white. For second firing, apply a wash of banding blue and
black with a little purple added to give it warmth. Wipe out
one or two sharp highlights just above center of berry to give
it fullness and transparency; the piece is then ready for second
fire. Should a third fire be required, be careful not to use too
much black as dark colors are apt to blister if applied too
heavily.
.pn +1
.bn 018.png

Another combination for a beautiful dark color is first
apply a wash of dark green over the dark part of the berry
for first firing and going over it with a wash of crimson purple
for second fire. You must not omit wiping out highlights
which are especially noticeable on fruits with smooth skin.

<i>Red Cherries.</i> For painting red cherries, use dark pompadour
for the dark parts and poppy red for the lighter portion.
Violet or iron is a good color to use for deep cherries.

<i>Currants.</i> For currants, dark pompadour is a good color
to use, but it should be kept thin and the highlights must not
be forgotten. Currants of a lighter red may be painted with
poppy red.

<i>Plums.</i> Crimson purple and banding blue are used in
painting plums—about three parts of blue to one of crimson
purple. This same combination may be used for second firing,
with a light wash of black for deepest shadows.

<i>Grapes.</i> For painting dark blue grapes, use a mixture of
about two parts banding blue to one part each purple and black.
A strong contrast between light and shade should be an essential.
Red grapes are treated the same as those above, but here
violet of iron should be used for shadows, and dark pompadour
mixed with about one-eighth part ruby for lighter portion.
These applications should be applied very lightly.

<i>Green Grapes.</i> Shadows of green grapes should be laid
in with a light wash of olive green. The light parts are left
white. A delicate stroke of egg yellow around the under side
of berry will give transparency to the fruit. The reddish tones
may be added with a mixture of poppy red and pompadour for
second firing.

<i>Strawberries.</i> It will be noted that dark pompadour is a
very useful color for fruits. The shadows in the strawberries
should also be laid in with this color and the light parts with
a very light application of light pompadour. It will not be
amiss to remind the decorator that in china painting all deep
shadows are painted in for first firing and the lighter tints
applied for second and third firings.
.pn +1
.bn 019.png

<i>Crab Apples.</i> Paint in the dark parts with brown green,
and a light wash of yellow brown and yellow green over the
light parts for first firing. Add the reddish tone with a mixture
of dark pompadour and yellow red, and refire.

<i>Oranges.</i> Oranges are usually painted with yellow brown.
Shadows are obtained by laying one application over another,
and blending out the color thinly for lights.

<i>Red Raspberries.</i> These are laid in with dark pompadour
for both light and dark parts.

<i>Gooseberries.</i> Lay in the shadows of the tints with moss
green and apply wash of apple green over the light parts.
Ripe gooseberries have a pinkish cast. To obtain this tint, a
light dusting of peach blossom over a very light application of
light pompadour will produce a delicate pink, very suitable for
this purpose.

<i>Peaches.</i> The greenish cast in the outer edge of dark
shadows of peaches, is laid in with brown green. This color
should be blended with the light parts with a wash of bluish
violet color. For the pink tones of the fruit apply a light wash
of dark pompadour and the painting is ready to fire.

For the second firing, paint over the entire fruit with a
mixture consisting of one part of yellow brown and two parts
of ivory yellow. Then strengthen the reddish tints and the
shadows.

Do not attempt to work too fast by using the colors too
thick. China colors should be used sparingly. The strength
of tints is obtained by frequent firings.

Flowers or fruit painted with repeated applications of
color will appear soft, glossy and transparent.

“Dusting of colors,” which has been treated under separate
heading, will be invaluable in obtaining the delicate
blendings so necessary in all natural styles of decoration.

After fruit and grounds have been painted, light dusting
of powder colors such as delicate yellow browns, greens and
light pinks may be applied with cotton rubbing lightly over
fruit and background to produce a soft, harmonious relation
of tints.
.pn +1
.bn 020.png

.pb
.sp 4
.pm ic illustration_020.png 505px 'Figure'

.pm ct 'FIGURE PAINTING'
.sp 2

The art of figure painting is somewhat difficult compared
with the other styles of china decoration, and has been
made more so by the introduction of many unnecessary colors
and methods of applying them. The beginner who has tried
to follow these complicated methods has become discouraged
in this very interesting and valuable art of china painting.
Figure painting on china has been greatly admired and if a
simplified and understandable method were taught, it would
become one of the most popular styles of decoration.

Egyptian, Greek, Roman and Renaissance decorations of
pottery are all very beautiful, and in these we find figures
as the motif, painted both in conventional and in natural
style. These decorations do not seem to have been generally
followed, although quite easy to produce. But in this chapter
we will consider flat figure painting. This being supplementary,
it will be found to be the easiest way to produce
figures in their natural colors.

In this work, the first requisite is to have the drawing
on the china absolutely correct. This can be traced from a
drawing on paper on to the vase and special attention should
be paid to having clean cut, perfect lines.

In handling the subject of flesh tones we will speak first
of the face, and by the use of the same process, all flesh colorings,
even full nudes can be painted.
.pn +1
.bn 021.png

Having drawn the features as lightly as possible, outline
them with flesh shadow very lightly. Then proceed to
the shadows of the face. These must be done very smoothly
with the same color. On the edge of the shadow add a
little flesh gray toward the lighter part of the face. This
neutral tone, between the light and shadow, is seen on a person
with a good clear complexion. These colors should not
be mixed but blended well and carefully. The gray should be
a pure tone although very light, as the figure will be spoiled
if it is too heavy, for in firing it will be inclined to turn
green. Outline the lips faintly with flesh tint and in the
same way apply the color desired for the eyes and hair. To
be explicit we would say that flesh shadows and flesh gray
only are used to paint a face—and the lights left white. All
the work must be done while the colors are fresh, and done
smoothly so that they will be well blended. If these details
have been carefully observed—the article is ready for firing.

To prepare the decoration for a second firing wash
the face all over with a light coat of flesh-soft-tint and then
touch the shadows with flesh shadow, while the wash used is
still moist.

The gray tone should not be used a second time as the
first application will show through the flesh tint as a soft
warm gray. Retouch and strengthen wherever it is found
necessary, and cover the lips with a touch of flesh-soft-tint.
Remove all the little high lights, and the article is ready for
a second firing. Pay attention to this suggestion. For first
firing always use flesh shadow and flesh gray and for second
firing use flesh shadow and flesh-soft-tint.

For third firing, shadows should be touched up with flesh shadow;
touch up the cheeks with a light application of flesh-soft-tint,
and use the same color to shade the lips. Hair,
eyes, etc., may be now finished and the piece fired.
.pn +1
.bn 022.png

It is plain from this short explanation that a method of
figure painting could not be more simple and productive of
good results. The student is not apt to become confused
when only these flesh colors are used.

Flesh gray mixed with flesh-soft-tint makes a darker
tone, suitable for shadows of the eyes, etc. Flesh shadows
may be added to the above mixture. With a little practice
it will be found that by this method of figure painting satisfactory
results are obtained in a very short time. The following
suggestions should be observed when painting hair
for faces of light complexion: Apply a wash of flesh shadow,
for shaded parts only, for first firing, leaving the lights pure
white; for second firing, a wash of yellow brown should be
applied over both light and dark parts and the shadows retouched.
Dark hair is painted in the same manner, using
hair black softened slightly by adding one-sixth part banding
blue. Flesh gray is used for painting gray eyes, and finishing
brown for dark eyes. Chestnut colored hair is painted
with hair brown or finishing brown. The various colors for
painting hair as treated above may be mixed with other colors
to suit the preferences of the artist.

It is well to remind the decorator here that the one great
fault that the artist has to guard against is, using too strong
a red for faces. Use flesh tones and light grays sparingly
and bear in mind, never use yellow as it produces a disagreeable
effect. Nude figures are painted according to the same
methods as explained for painting faces. Brunettes require
stronger shadows and grays, but the flesh-soft-tint is used for
both light and dark complexions.

.pm ic illustration_022.png 220px 'Cameo'
.pn +1
.bn 023.png

.pb
.sp 4
.pm ic illustration_023.png 500px 'Tinting'

.pm ct 'TINTING'
.sp 2

In tinting china, the best results are always obtained by
using freshly mixed colors. They work more easily and
smoothly. A broad tinting brush or square shader should
be used for this work—one color or a combination of colors
may produce a tint. Apply the color as smoothly as possible,
but if it is found to be not quite even, pad it with a cloth or
pad. Some colors contain more grit than others—and are more
difficult to pad. In applying such colors as yellow-brown,
brown-green, apple-green, dark pompadour and pink, it is necessary
to dampen the pad with mixing oil. When using the
smoother tints, it will only be necessary to tint the pad, by
touching it to the color. The effect will be improved and
deepened by a dusting of colors when the tint is about dry.

The term “flushing” is sometimes used when tinting is
used for a background.
.pn +1
.bn 024.png

.pb
.sp 4
.pm ic illustration_024.png 600px 'Ground'

.pm ct 'GROUND-LAYING'
.sp 2

There is probably no feature in the painting of china
that gives the student more anxiety than the art of ground-laying.

He is confronted by many difficulties, but when the art
is mastered, feels well paid for all his work. The beautiful
results are sufficient reward. A perfectly even and lustrous
ground is obtained by applying powdered colors over a
well padded wash of tinting oil. The results are more
satisfactory than a well padded ground made of color mixed
with oil before applying.

The best quality of grounding or tinting oil is the
first essential. In fact it is upon this, to a great degree,
that the success of the work depends. A tinted oil is usually
used. Pour into a small dish the desired amount of
oil. See that no lumps or bubbles are in it. Then with
a clean square tinting brush apply the oil quickly over the
surface to be laid with color. It is not necessary that the
work should be very carefully done—but care should be
taken to see that all the space is covered. Have ready
for use two medium soft pads, free from lint. Pad the oil
over and over again with one pad until it looks like a
.pn +1
.bn 025.png
smooth soft tint, then repeat with the second pad. This
second padding may not be necessary, but it cannot do any
harm and it certainly will improve the smoothness of the
oil. Here the decorator is cautioned to see that the oil is
perfectly even, free from spots and scratches, as these faults
would be noticeable after the color is applied. It is best
to wipe off all the oil and make another application instead
of trying to correct a fault on the padded oil.

After the oiled china has stood for half an hour or so,
the powdered colors can be applied.

Have plenty of color on a plate and, holding the piece
of china over it, take up with a piece of soft cotton as much
color as it will hold, and drop it over the part of the china
to which the oil has been applied. Care should be taken
to hold the piece flat that is to be decorated, for if it is
held upright, the color will naturally drop off. A good
amount of color should be kept on the cotton while applying
tint. After the oil is covered, dust with clean cotton several
times. If any superfluous color remains, remove it
with a soft brush.

Now turn to our chapter of cutting out. If anything
of this nature needs to be done, now is the time to do it.

After firing this ground should be heavy and have a
strong glaze.

By adding turpentine to the oil and mixing well a medium,
heavy or light ground can be obtained. By the use of turpentine
the oil is made lighter and less color adheres to it.

Sometimes the powder colors will be found hardened
from packing in the vials and come out in hard pieces. Pulverize
these pieces well and sift them through a cheese cloth
.pn +1
.bn 026.png
if necessary. Various colors can be blended together beautifully
on grounds by applying the lighter tint first and carrying
it over slightly onto the part which is to be tinted with dark
colors. In applying the darker colors use sparingly as it
approaches the lighter tint and avoid leaving a sharp line.
Blend the two colors together until the combination is of very
smooth and soft appearance.

The more turpentine mixed with tinting oil the thinner
will be the coat of powder adhering to it, naturally a
lighter ground is the result. For purple, violet color, maroons
and pinks use light oil for grounds. It is difficult to remedy
a scratch or imperfection on dusted grounds. If it is done
with moist color and brush, bear in mind that dry powder
applications fire much darker than colors applied moist with
brush, and gauge the color accordingly.

For a brilliant effect, dust the unfired background with
a flux or glaze. For warm colors such as browns, red and
flesh tones, this is not necessary, but it will improve dark
greens and blues. It is unsafe to try to paint over dry unfired
grounds. To lay grounds in Matt colors, proceed in this
manner. Use a little turpentine with the oil for Matt color
dry grounds. These colors are opaque and it will not be
noticeable if there is a slight variation in thickness in applying
them. It is advisable, however, to have just a medium
application.
.pn +1
.bn 027.png

.pb
.sp 4

.pm ct 'DUSTING'
.sp 2

In other chapters we have explained the process of dusting
in underglaze work and ground laying, but the particular
feature of it to be dealt with now is its use in altering and
strengthening tints that have been applied with wet colors.
This process is very similar to that used for underglaze work.
For illustration, we will assume that you have a decoration in
green or light ivory—and that you desire a warmer tint. In
this case any warm color such as yellow-brown or yellow-red
can be dusted on the decorations that are already dry. The
color may be applied with a dry brush or piece of cotton and
rubbed very gently. A small amount will adhere to the china—and
thus the desired effect will be obtained. Any number
of colors can be applied in this way and blended well together.
Heavy grounds can be strengthened by the use of dark colors,
such as browns, purples, greens and blues. While the delicate
tones are softened by the use of lighter shades.

In the painting of flowers, dusting is often used to soften
or darken them. This process, however, is not always confined
to the flower alone, but is used to blend the rose, or whatever
the flower may be, with the background. It has a very softening
and pleasing effect.

In figure painting, dusting a flesh tone on the cheek will
improve it very much.

An artist will feel well repaid for time devoted to investigating
the many possibilities of this branch of painting, for
crude and uneven work can be remedied by this process.

Gold or silver must <i>not</i> be applied after an article has
been dusted in this way. The metal is usually tacky and may
retain some of the little particles, and this would mar the
brilliancy of either metal.
.pn +1
.bn 028.png

.pb
.sp 4
.pm ic illustration_028.png 510px 'Outlining'

.pm ct 'OUTLINING'
.sp 2

For outlining china, this method—which saves one or two
firings—can be used and will be found most practical.

Mix whatever dry color you wish, with water and add a
couple of drops of mucilage or sugar syrup. Mix well with
palette knife. Use this mixture as you would water colors—and
outline the design with a lining brush. The lines will dry
very quickly and in case you want to erase them, use water.
Then, too, if the color dries on the palette, water should be
used—and mix well. These outlines will remain perfectly, and
you can paint and repaint over them—there being no danger
of rubbing off and will show through oil mixed colors.

If the background is applied with regular mixed colors—and
the design cut out and tinted, you can have a piece of decorated
china complete with one firing. The outlines will fire
clearly, but if outlined in India ink they would have disappeared.

When this method of outlining is used, a brush should be
used instead of a pen. When using a pen in outlining, mix
the colors with mixing oil—to about the consistency of that
would be used in painting. Dilute this sufficiently with diluting
medium, so that it will flow readily from the pen. Experience
will soon teach you the right consistency. It is just as
undesirable to have it too thin as too thick.
.pn +1
.bn 029.png

For small lines use a fine pen and a coarse one for heavier
work. A small brush can be used successfully.

India ink is used for outlining china for decorating. This
disappears in firing. It does not injure the gold or colors—but
the ink lines can be seen when lustres are applied over
them. When the ink is perfectly dry, the china colors can be
applied.

To make a broad outline, paint the line with grounding
oil that has been mixed very well with a small amount of
lampblack. Draw the lines, then dust the powdered color
over them. You can be sure of obtaining a perfectly even
color effect, if the banding is done in this way. When outlining
with gold, use a mixture of pure Roman gold and diluting
medium. When mixed with a diluter, Roman gold may
be applied with either a pen or a brush. Do not use turpentine
or liquid bright gold.

Burnish silver can be handled in the same way.

When using liquid bright gold or lustre, you can use a
brush or pen, whichever you choose.

Outlining in color can be done over fired colors, golds,
silvers and lustres, but be careful not to apply it too heavily
or it will flake off.

You can outline in color over unfired dry tints and unfired,
well dried Roman gold. The powder must be mixed with
water when used over unfired lustres. The lustres would be
spoiled if turpentine or oil was used as they spread too easily.
The best thing to use in gold outlining is diluting medium with
powder gold, but lavender oil is very good.
.pn +1
.bn 030.png

.pb
.sp 4

.pm ct 'CUTTING OUT'
.sp 2

Sometimes it is necessary to wipe out a design from
a background. In this case the following suggestions are
recommended:

The design to the “cut out” must be seen from underneath
the tint. A design to be wiped out of a tinted background
must necessarily be drawn in with India ink. For
dusted grounds the oil should be wiped off the ink lines with
a pointed stick so that the tint will not adhere to the
line.

Dusted backgrounds require about twenty-four hours
to dry, but by artificial heat the time is considerably shortened.
To remove the tint covering the design, make a
mixture of oil of cloves and a few chips of soap. Apply a
light coat and be careful that it does not spread beyond
the lines. The color requires about five minutes to soften
and may then be removed with a piece of cloth over the
finger tip. Do not try to remove the tint until the design
is perfectly dry. Use care in removing the color so as not to
drag it over onto the background, change cloth frequently
so that you are constantly working with cloth free from oil
and color.

Designs may be “cut out” from powdered background
by using a stick and scraping off the tint. It should be done
while the tint is still fresh. The former method, however,
is more satisfactory, tar oil may be used instead of oil of
cloves if preferred.
.pn +1
.bn 031.png

.pb
.sp 4

.pm ct 'PADS AND DABBERS'
.sp 2

To help in the making of even grounds, pads and dabbers
are used. They are also used for flushing combined
colors. These can be made of any soft material, such as
cheese cloth, silk, etc. The softer the material is, the more
satisfactory the work will be. A medium hard ball of cotton
can be covered with the material and used for this purpose.
Be sure to see that the material is without wrinkles.
Singe all lint off of the dabber with a lighted match. In
padding color dab quickly and lightly, working the tint evenly
by light, gentle tapping. A silk dabber is more desirable
and there is no better material for the purpose than an old
handkerchief or any soft piece of silk that has been frequently
washed. Fine cheese cloth will do, especially on
heavy grounds.

Cheese cloth will permit the cotton to absorb some of
the oil and it does not retain much of the tint. Professional
decorators of china use this method in tinting. Color should
not be padded while very fresh as a large part of it would
be taken up by the pad. More satisfactory results are obtained
by allowing the tint to become slightly “tacky” before
padding. For best results in spreading heavy tints, fitch
hair stippling brushes or dabbers are used before using cloth
pads.

If the pad produces an uneven or grainy effect, rub the
superfluous color from it with a piece of paper. Moisten
the dabber lightly with oil before proceeding with the work.
When tinting with banding blue, yellow-brown, grays or pinks
a little more oil should be applied to the pad. Fine cotton
or lamb’s wool are suitable for making pads.
.pn +1
.bn 032.png

.pb
.sp 4

.pm ct 'SLOW OR QUICK DRYING COLORS'
.sp 2

Almost every student experiences difficulty, at times,
with the uncertainty of colors drying in the way desired.
Sometimes they will dry too rapidly and at others not fast
enough.

It is well to use diluting medium to keep the colors
moist, but use a regular mixing medium with colors. Oil
of lavender is not practical as it dries quickly. Mixing oil
is too thick.

Slow drying colors are essential in painting broad
grounds. Very often time is needed for changes in designs.
It is always necessary to have something to moisten the
brush with while working—any diluting medium can be
used then. Only a very little is necessary and no other oil
<i>need</i> be used. For very slow drying add a drop or two of
oil of cloves when mixing the colors. Naturally, the colors
will remain moist according to the amount used. Should
too much be used, the colors will run. Sweet oil is also used,
but less should be used than of the oil of cloves or the colors
may remain moist for several days.

Turpentine or oil of lavender are the mediums used for
quick drying. Colors will dry quickly and thoroughly, if a
little turpentine is added and mixed well with the colors that
have been previously well mixed. To dry colors or keep them
from running, a little steam will be effectual.

Perhaps it will be only necessary to breathe on the surface.
.pn +1
.bn 033.png

.pb
.sp 4
.pm ic illustration_033.png 505px 'Relief work'

.pm ct 'PASTE OR RELIEF WORK FOR GOLD'
.sp 2

The beginner is confronted frequently with two difficulties
in paste decoration. These are flattening of the paste
after the application, and chipping off. These can usually
be traced to one of two things: the use of the wrong quality
of oil or to using too much.

Unsatisfactory results will always be obtained if the
paste is insufficiently ground. It is well to grind it well with
turpentine. Allow it to dry, and then mix with oil—a horn
or steel knife can be used.

Some of the professionals who do the finest work for
the English and French manufacturers, mix their paste
with two parts of fat oil and one part of oil of tar. The
paste should be mixed to a half thick consistency with
the oil that is to be used, and worked until it is smooth.
Special care should be taken to following these instructions.

The paste now being about like freshly mixed china
colors, stir with a knife and breathe upon it. Keep stirring
until it is hard and gathers to the knife in a stringy way.

Reducing the paste to the right consistency is the most
important feature of the work. It should be of such consistency
.pn +1
.bn 034.png
that when taken up it will keep in good shape while
hanging to the paste brush.

If a small amount of water should be used instead of
breathing upon it, great care should be used not to use
too much. Too much humidity will cause the paste to become
stiff.

A single long stroke produces the best results in laying
paste lines. Frequent touches produces an uneven line
which will mar the beauty of paste work. Be sure to lay
the paste high and round like a thin cord. If it should flatten,
too much oil has been used; breathe upon it again until
proper consistency is obtained.

Keep paste in as small and round a heap as possible
while it is being used. It is best to mix fresh paste for each
day’s work. If you should wish to remix paste, use as little
oil as possible.

To straighten an uneven line cut the end of a brush
handle to a sharp edge and smooth or move the line in place.
A brush moistened with turpentine will sometimes do the
work satisfactorily. Do not let the brush become clogged
with paste while working. Clean it frequently by wiping
it on a cloth. Dresden paste brushes are best for this
work. Paste may be applied over fired colors or lustre if
desired. Be sure the paste is well dried (not artificially) before
firing. To obtain the best results paste should be fired
before gold is applied. However, in case of emergency gold
may be applied over unfired paste provided it is perfectly dry
and hard.

If paste should, for any reason chip off, the space should
be filled in with fresh paste. Dry thoroughly and apply
gold—then fire as before. Unfluxed gold should be used over
paste. For silver paste decoration, two applications of silver
are necessary for best results.
.pn +1
.bn 035.png

.pb
.sp 4

.pm ct 'GOLD'
.sp 2

A brush used for gold should be used for that purpose
only. Use turpentine or oil of lavender for moistening the
brush—and after it has been rubbed well into the paste the
latter will turn a thick brown color. Pour a very little turpentine
on the paste if it is too dry and work well with a
palette knife. A drop of liquid bright gold will soften Roman
gold quickly. Don’t use turpentine if you use liquid gold.

Another way (although perhaps not quite as good a way)
to soften gold quickly is to warm it over a flame, then add a
little turpentine. The objection to this process is, that after
it has cooled it is harder—and the results are not as satisfactory.

We find in gold work, it is safe to use liquid bright gold
for the first firing and Roman gold for the second. Liquid
bright makes a good foundation for Roman gold and makes a
good wearing combination. It is not well to use unfluxed gold
on hard china as it rubs off very easily. Roman gold is used
for this china and hard or unfluxed gold on the softer wares,
such as Belleek.

Gold requires a medium firing—and when practical it
should be applied in the last two firings. If an article that is
decorated with gold requires refiring on account of some defect
in the other decorations, the gold will need to be gone
over again or you may have to give the piece an extra firing
for the gold.

If gold is overfired it will fade white; on the other hand,
if it is underfired it will rub off in burnishing.

It is very necessary to remember one thing in burnishing
gold. If any of the glass fibers are allowed to remain on
the decoration when the article is undergoing a second firing,
they will eat the colors, and the work will be nearly if not
quite spoiled.
.pn +1
.bn 036.png

It is unwise to burnish an article near where you are
working, as the particles get into the colors and act the same
when the colors are fired.

Wash each article after burnishing. After each firing of
an article, burnish the gold, for handling, or moisture from the
hands, or dust are sure to show. Lustres are applied after
the gold is burnished.

There are many reasons for gold looking dirty. Sometimes
it is due to the china being dusty. Maybe the brushes
were not clean or a poor quality of turpentine was used. Gold
will not stand too much mixing, consequently it is well to have
only the amount needed on the slab.

After the student has had some experience in handling
gold, he will probably be able to apply it over unfired paste.
The paste, however, must be absolutely dry. But the safest
way to obtain the best results is to fire the paste first. Care
should be taken not to apply the gold too thick or it will
blister and peel off.

If liquid bright gold is used with Roman gold use no turpentine.
In fact never use turpentine with liquid bright gold.

When it is found necessary to remove fired gold, it can
be done with liquid china eraser.

Gold can be applied very evenly to the edges of round
articles with the tip of the finger.

After silver has been fired, gold can be applied and vice
versa, as one metal acts as a foundation for the other.

Mix one part of silver with two parts of unfluxed gold
and you have green gold. For platinum effects mix liquid
bright silver with Roman gold.

Nothing but unfluxed gold should be used with Belleek
ware.
.pn +1
.bn 037.png

.pb
.sp 4
.pm ic illustration_037.png 600px 'Burnishing'

.pm ct 'GOLD BURNISHING'
.sp 2

The appearance of Roman gold when it comes from the
kiln is Matt or dull. In order to bring out its natural brilliancy,
scouring or burnishing is necessary. This can be
done with a spun glass brush made for this purpose, or it
can be burnished with a special sand. In case an article
has to be refired, be sure to remove all of the glass fibres
as they would ruin the decorations. The beauty of the unburnished
gold will be destroyed by moisture from the
fingers. If sand is used, moisten a soft cloth with water,
and after dipping it in sand, rub the gold gently. After
the gold is polished, the china can be washed. The china
is underfired if the gold comes off in burnishing. The gold
can be burnished more easily and more evenly if a coat of
liquid gold is used in the first firing and Roman gold on the
second.
.pn +1
.bn 038.png

.pb
.sp 4
.pm ic illustration_038.png 530px 'Lustres'

.pm ct 'LUSTRES'
.sp 2

Cleanliness is one of the first requisites for success in
using lustres. The brushes should be cleansed with Gold-Essence
or Alcohol from all traces of one color before using
another, and should not be allowed to dry containing any
color. The corks should never be changed from one vial
to another as the least contact of tints in the unfired state
is liable to spoil the whole vial. The vial should be corked
at once when not in use as the liquid evaporates rapidly;
this will also guard against dust and upsetting.

A soft camel’s-hair brush, that can be dipped into the
vial, will be needed; also a wad of cotton enclosed in a piece
of silk to form a pad as for ordinary tinting.

Use great care in handling pieces tinted with lustre
colors. Clean the china thoroughly, using alcohol, being
careful to leave no finger marks on the piece. Dust in the
brush, in the kiln or on the china will make blemishes. See
that the work is not exposed to any dampness. After the
work is completed handle as little as possible and if necessary
to be wrapped, use tissue paper, not cotton. It is best
to apply the lustre in the last firings. An even tint is obtained
by several applications, but always fire for each application of
.pn +1
.bn 039.png
the lustre. A second coat on an unfired coat of lustre will
produce a blotchy effect.

If lustre has fired spotty or in an unsatisfactory manner
the fault can usually be corrected by applying another wash
of the same color or a darker tint. A generous application
of Mother of Pearl lustre will also remedy the defect. If
lustre should fire too light, apply another wash of the same
color and refire.

Lustres dry quickly and therefore should be padded
without delay. Always have the dabber ready so that there
will be no time lost after the color is applied. A good plan
would be to apply lustre over a part of the surface and
quickly pad it smoothly, then apply the lustre over the balance
and finish by padding. To retard drying, mix a very
little oil of lavender with the lustre, on the palette. This
will also assist in padding the lustre more successfully. It
is difficult to apply lustre smoothly with a brush inside of
cups and small bowls. To obviate this pour a small quantity
into the bowl and spread it with a silk dabber. Be sure
that the lint has been singed from dabber. Firing of lustres
require a great deal of care. The piece should be placed
in the kiln in such a way that no dust can fall on it. Be
careful in drying lustres as the color will pulverize if the
heat is too strong. On lustre and gold decorations care
must be exercised in burnishing the gold so as not to rub
the lustre, as it is very easily scratched. Lustre applied
too thick is liable to crack and if applied over fired color
will lose its brilliancy unless the color is a very light tint.
Fired tints and lustres can be removed with hydrofluoric
acid.

Lustres should have a medium fire. Deep color effects
are obtained by repeated applications and firings. If lustre
color is to be applied over gold, see that the gold is burnished.
.pn +1
.bn 040.png
It is not advisable to apply painting colors over
lustres as the combination is not a success. Lustres applied
over fired Matt colors will produce a rich metallic effect
which harmonizes beautifully with gold and paste work.
A variety of metallic effects can also be obtained by applying
a greenish bronze tone. Ruby will produce a strong dark
metallic effect, and orange over gold produces a bluish purple
bronze tone. Lustres applied over liquid bright gold will
be very brilliant, but richer effects are obtained over Roman
gold.

Silver lustres over light fire tints will have a frosted
appearance, which is very effective combined with turquoise
enamels and gold and paste work. A deep, rich maroon
effect can be procured by painting two coats of purple lustre
over liquid bright silver. Orange lustre over ruby will produce
a strong scarlet color. Orange over blue, dark green
or olive, will produce greenish tints. Over iridescent rose,
a good bronze tone is obtained. Over gold, it will produce
a purplish bronze effect.

Yellow is generally used for mixtures with blues,
greens and grays to produce lighter tones. It is a light color
and is mostly used for this purpose and for backgrounds.
For a strong yellow effect give several applications and
firings.

A single application of light green is a greenish gray.
A more intense effect results from several applications.
Light green lustre is very popular as a tint used in connection
with gold. That is, it is applied after the gold is
fired. Rose over liquid bright gold produces a strong metallic
effect. If pink or rose is overfired it will have a purplish
tone. A soft pearl effect is obtained from a light wash of
.pn +1
.bn 041.png
yellow or light green over fired rose. A background of rose
is most effective for paste and gold work.

Blending of blue, pink and gray are found in iridescent
rose which can be used with very satisfactory results for a
background, and inside of cups and bowls. Padding is not
necessary as the more irregular the tint is applied the more
striking will be the effect.

Copper, dark green, steel blue and purple must be well
protected from dust and humidity, or they will become spotted
in firing.

Opal and Mother of Pearl will not always fire successfully.
They are not, however, wholly unreliable, but have
a tendency to fire off.

Yellow pearl is one of the very beautiful iridescent colors,
with a variety of light and deep tones.

Two fired applications of ruby purple will make a very
deep tone. It is very effective when used with paste and
gold work. A fine iridescent, deep green background for
gold, is obtained by firing light green over ruby.

Steel blue, as a rule, is a very pleasing transparent color,
but it will sometimes fire iridescent dark greenish gray.
It combines well with silver and black for conventional designs.
A wash of yellow over steel blue will give an oxidized
silver effect.

Copper is used successfully over gold lustre. Very
pleasing combinations of colors are produced by applying
enamels over unfired lustres. They assume a pinkish cast in
firing.

Copper decorations on lustres are more satisfactory if
the lustre is fired. It can, however, be applied over unfired
lustre if it is perfectly dry. Lustre applied over India ink
will fire off. Very pleasant and delicate effects are obtained
by outlining with gold and pen over lustres.
.pn +1
.bn 042.png

.pb
.sp 4

.pm ct 'MATT COLORS'
.sp 2

Matt colors are opaque and are usually used for backgrounds,
in which case they are usually applied by the dusting
process, although they may be used exactly as china colors
are. After being fired the surface assumes a velvety effect
and looks like unscoured gold. Sometimes they are used with
ordinary colors. They can be mixed with them but when used
in this way they are inclined to lose some of the natural dullness.
These colors will stand an unusual amount of firing
without fading.

Matt colors can be mixed with white and used the same
as oil colors.

If a fine bronze effect is desired, it may be had by stippling
gold over fired Matt colors.

It frequently happens that after these colors have been
fired, they will rub off, especially, if they have been laid on
too thick. In this case make a mixture of a small amount of
vitrifiable china tint and the Matt color, making a light wash,
and this will fasten the ground. This wash may be blown
or stippled on. It may be applied with a shader if the colors
are not too soft.

Paste and gold may be applied over fired Matt colors.
Roman or unfluxed gold may be used over paste, but unfluxed
gold must be used if applied directly on the color.

As these colors are opaque no design will show through
when fired. Consequently if any design is to be applied to
these colors, it must be cut out. (See cutting out.) Vitrified
china colors are used over fired Matt tints—and silver can be
used over Matt colors.

These colors cannot be used successfully on such articles
as table ware, as they will not stand a great amount of washing.
They retain grease, etc., and would soon lose their beauty.

Matt colors are made by adding a certain amount of
oxide of zinc to china colors. A little experimenting will tell
the decorator what proportions to use. Grind these well together
with turpentine—and dry before using. Different
makes require different proportions.
.pn +1
.bn 043.png

.pb
.sp 4
.pm ic illustration_043.png 570px 'Star Banding Wheel'

.pm ct 'BANDING'
.sp 2

A steady hand and practice are necessary to acquire
good results in banding and lining. The best results are
obtained with the “Star” Banding Wheel. Operation of the wheel
is very simple. Three centering buttons move together automatically,
bringing the article to the exact center and holding
it in an unmovable position. These are adjustable and
can be raised to hold in position bowls, vases, etc. A large
amount of valuable time is saved by using the “Star” Banding
Wheel. It is easily manipulated by the most inexperienced
and is practically indestructible.
.pn +1
.bn 044.png

Do not move the brush around the china. By resting
your arm on a support you can turn the banding wheel slowly
and keep the brush in a steady position, and touch the china
lightly.

A good brush is necessary to make a band, but a thin
one is used to make a small line.

The colors must be kept in a half liquid state. In this
state they flow easily and an even line is the result. The
brush should pass over the same line several times.

Bands are made with grounding oil so they may be
dusted with powder—the same as in the ground-laying
process. This is preferable to using wet colors for a broad
band. With this process the band is even and glazy. A
cut liner is used for lines and edges. This brush is best
for this work as it carries the large quantities necessary for
a long line.

Perfect lines must be made with one stroke—as several
short strokes are sure to appear blotchy. When lines are
made of gold or silver, the metal used should be more liquid
than when used in painting.

A compass, with a ruling pen, can be used for making
lines. China color made liquid with diluting medium is
used.

Lines may be drawn around the edges of bowls, plates,
saucers, etc.

.pm ic illustration_044.png 310px ''
.pn +1
.bn 045.png

.pb
.sp 4

.pm ct 'OXIDIZING OF COLORS'
.sp 2

Different metals are used as a basis in producing various
colors. Iron is the basis for flesh tints, reds and
browns. Less iron (in proportion) is used for yellow and
green.

Gold and tin are used as the basis for pinks, roses,
carmines, blues, purples and violets. In mixing colors of
iron basis with those of gold and tin basis the lustre and
brilliancy is sometimes impaired. Experience will show
that purple (which has gold or tin as basis) mixed with
black or brown (iron basis) sometimes loses its glaze, on
the other hand the same purple will, as a rule, keep its glaze
if mixed with dark green, owing to the fact that greens
have a smaller per cent of iron. The combining of the
two basic metals causes the oxidization, and this difficulty
is hard to remedy. A scroll of gold or silver is quite a
help in this dilemma, they being opaque, defects are easily
covered. Satisfactory tints can be procured by mixing colors
of iron basis as one class and those of gold and tin basis as
another.

A piece of china will sometimes come from the kiln
with a perfect glaze, but soon loses its lustre and becomes
Matt. This may be due to the fact that the color is too heavy
and not fired long enough.

The china being porous absorbs the natural moisture in
the air and appears to be oxidized. This can be removed
with soap and water. Refiring will prevent a recurrence of
this condition.

Special care should be taken with such colors as purples
and browns, that too much oil is not used in mixing.
It has a tendency to produce a dull, undesirable appearance.
Keep the colors as dry as possible.
.pn +1
.bn 046.png

.pb
.sp 4

.pm ct 'GLAZING OF UNDERFIRED COLORS'
.sp 2

Even though every precaution known to the art has been
observed, the artist will be puzzled in taking from the kiln
pieces that have been fired in a way anything but satisfactory
or as he expected. It is frequently the case that his best pieces
are underfired. Knowing the danger of <i>over</i> firing, he is liable
to make this mistake. Should this happen, it is not well to
refire china without going over the work with a thin coat of
color. This should be fired at the same heat as would be used
in the ordinary glaze. In case you do not need to go over
the whole decoration, the fired colors could be covered lightly
with a coat of enamel oil, or mixing oil and turpentine. Let
this coat dry, padding it well, after which dust it with white
flux or ivory glaze. The desired glaze will be produced by
the powder adhering to the oil. Fire again with ordinary heat.

A glaze cannot be produced on underfired china by using
a coat of lustre, but instead it will be found that this china
will absorb the glazy substance of the lustre. This has a tendency
to change the colors and produces a frosted effect.

Sometimes white lustre will retain its glaze over a lightly
fired tint, but we suggest that the decoration be retouched after
the colors are very dry, and powder it with ivory glaze. Pure
glazes or fluxes mixed with oil should never be applied over
the unglazed decoration—as it will invariably destroy the
colors. A rough surface can be improved by rubbing it gently
with very fine emery paper.

You will find that a good oil for glazing is made by the
turpentine in the cup, that you use for washing brushes. The
glazy qualities are produced by the fluxes of the colors. Great
care should be taken to see that this oil is clean. After giving
the underfired decoration a light wash, pat well. Fire in the
usual way after it is thoroughly dry, and a very satisfactory
glaze will be obtained.
.pn +1
.bn 047.png

.pb
.sp 4

.pm ct 'CHIPPING OF COLORS'
.sp 2

There are many reasons for colors chipping, but it is probably
due more frequently to the careless application of color
than to any other cause.

Sometimes, and in fact quite frequently, it is due to imperfections
in the china. A frequent imperfection is that the
glaze is very thin and in firing the colors cannot adhere to it.

Less trouble, however, is experienced with the light colors,
such as yellows, grays, blues, reds and light greens. While
in the darker colors, the browns, dark greens, purples, etc., it
is found that they are more liable to chip off.

Then too very hard china gives more trouble than a softer
ware, such as English or Belleek.

Artists frequently think that thick colors will produce
heavier tints. This is not so. The mistake is a bad one. The
colors will not only chip off very soon, but will lose their brilliancy.
The only sure way to meet with satisfactory results
is to apply the color very evenly, avoiding lumpy strokes.

If colors are well mixed and perfectly smooth and free
from grit, there is very little danger of chipping.

The most objectionable feature in china painting, and we
might say hopeless one, is chipping, as there is really no good
way to remedy it. The nearest thing to a solution that we can
offer is to fill in the chipped place and refire—but the glaze
will never be quite the same. The great danger in refiring is
that some other part of the decoration may be marred in the
same way. Whenever the chipping occurs in a place that can
be covered with enamel or paste and gold, it is best to remedy
it in this way.
.pn +1
.bn 048.png

One way to remedy it, and to avoid the necessity of an
extra firing, is to mix the powdered color with copal varnish
and apply it thickly over the chipped places. This looks fairly
well and will remain brilliant for some time.

Another difficulty that may be experienced is blistering.
The cause of this is bad oil. In this case the color will not
chip off, but it will shrink. This condition is hard to remedy
but a small amount of oil of cloves added to the mixing
medium will prevent it.

In decalcomania or transfer work, blistering happens very
frequently. This happens because the transfers have not been
washed sufficiently, and thoroughly dried before applying.
This may be prevented if a wash of oil of cloves is used, over
the dry transfer, dabbing it on with a slightly moistened pad.
It is absolutely necessary that the transfers should be free
from any trace of moisture.

.pm ic illustration_048.png 200px ''
.pn +1
.bn 049.png

.pb
.sp 4
.pm ic illustration_049.png 600px 'Enamel'

.pm ct 'ENAMEL WORK'
.sp 2

One of the most essential features in this work is to have
the enamel of the right consistency. There are many good
enamels in the market but we have found that Aufsetzweiss
in tube or powder form, makes a very satisfactory white
enamel.

Dilute most enamels with turpentine to a semi-fluid state.
Before applying, breathe on the mixture until it is reduced to
the proper consistency, which means that it should be in such
shape that it can be applied in a long, free stroke. At the
same time it should be thick enough to lie high and round on
the china. The beauty of the decoration depends on this feature.
Considerable of experimenting on the part of the student
will be necessary in order to perfect himself in this work.
Enamel in powder form must be thoroughly mixed with the
turpentine, after which a little fat oil should be added.

Very poor work is sure to be the result if enamel is
either too thick or too thin. If too thin it will be flat and if
too thick it will chip off. It is about the right consistency, if
it will remain in shape when a little is piled up.
.pn +1
.bn 050.png

When applying enamel, do not allow the brush to touch
the china. Right here it might be well to advise the student
that it is better to do the work over than to attempt to correct
any errors by repeating strokes.

For enamelling, use a sable brush. Take up a sufficient
quantity of the mixture so that some will hang to the brush.
The student should aim to make high, round lines and dots.
Sometimes the dots appear pointed, but after the work is
fired, they will be round.

When working with enamel, it is inclined to harden. In
case it does, add a drop of turpentine, breathe upon it and it
is ready to use again. Sometimes enamel will chip in firing.
In this case scrape it off and apply again.

Enamel that is too oily will chip—so it should be dried
with a piece of silk. There are other causes for enamel chipping.
Too many firings and insufficient mixing will cause it.
Enamel should not be fired more than twice. Do not use it
unless freshly mixed. There is little danger of these colors
chipping off of Belleek or any soft glazes. Enamels are not
likely to chip, if it is allowed to dry well before firing, provided
that all the suggestions in this chapter have been observed.

A good tinted enamel can be produced by adding one-fifth
part of the color to four-fifths of white enamel and mixed
very thoroughly. These colors dry darker than when applied—so
they should be mixed accordingly. Blue, green, pink and
ruby produce good colors—but reds and browns do not.

Another method is to tint white enamels by washing
lightly with color. White enamels can also be applied over
unfired colors or fired gold. If used over unfired lustre colors
it will turn reddish. White enamel fires very well though,
over fired lustres.
.pn +1
.bn 051.png

Flat enamels are produced in a slightly different way from
the raised enamels. Mix the white enamels according to the
directions given before—and add to it one-fifth of the color to
be used and one-eighth of flux. This is then diluted with oil
of lavender. Use sufficient to reduce it to a fluid state—and
mix well, a square brush is the best for this work. Let the enamel
flatten itself naturally. After this is fired the ground appears
higher.

One firing is all that is needed for flat enamels.

When several flat enamels are to be applied to one article,
the greatest of care should be taken to see that one color does
not run over the other. They should be separated by heavy
lines—and each one dried.

Peach blossom or ruby are used for pink enamel. Albert
yellow for yellow, peacock or Russian green for green and
blue green, or turquoise blue for blue. Some colors that cannot
be produced are bought prepared ready for use.

Enamels should not be fired heavily. Add one-sixth of
china cement to enamels and you have an excellent filling for
cracks and nicks in china.

Glass enamels give better satisfaction when mixed with
water rather than oil. Mixed in this way, the danger of chipping
is reduced to a minimum. These enamels are made by
mixing Matt colors with white enamel. Handled in this way
the enamels seldom bubble.

.pm ic illustration_051.png 235px ''
.pn +1
.bn 052.png

.pb
.sp 4

.pm ct 'CHINA REPAIRING'
.sp 2

To repair a piece of china that has been cracked through
and through, use “cement to be fired,” mixed with water, until
nearly liquid. Apply it to the crack repeatedly, so as to let
the china absorb as much of it as possible; then wipe away all
the surplus, and fire. This cement contains quite a good deal
of flux, and will affect any color covered with it. It will
always prove satisfactory when applied nowhere except just
inside of the cracks.

If the article to be repaired is broken into many pieces,
tie them together with asbestos cord before applying the
cement to be fired, and fire with the asbestos. Asbestos will
not leave a mark on hard china, and only a slight one on
Belleek ware; but even this can be prevented by firing very
lightly, and the cement will be quite as effective.

It must be remembered that this cement has no body and
will do nothing toward filling in a space; it melts completely
and holds the pieces together. If the crack is wide, apply the
cement first, as explained before; let it dry, and then fill in
the crack with enamel mixed with either oil or water.

To imitate the color of the decoration through which the
crack comes, add a bit of the desired color to the enamel,
being careful to remember that tinted enamels are rather
darker after firing than before.

Fill in a nick with enamel mixed with one-tenth of flux.
After this is fired, it may be covered with paste and gold, and
the fault will be completely obliterated.

By mixing one part of flux to nine parts of very finely
grated china, a good filling will be produced for large cracks,
or for places from which small pieces of china are missing.
It must be very carefully applied, and dried before firing.
.pn +1
.bn 053.png

Paste and gold work will cover up cracks very nicely.

Unless the china is actually apart, the cement need be
applied to only one side.

For a cracked vase, apply the cement by letting it run
along the inside of it only, but on a platter, apply it on the
outside, or, if desired, on both sides.

Black spots and pin holes can be filled in with enamel.

China can also be repaired by using a cold cement, which
should not be fired. Apply the cement with a stick, on the
edges of both pieces, and put them together very carefully.
Set the china aside, so that it will remain undisturbed until
dry. If there are many pieces, join two or three, and let
them dry, and gradually add on the others until the article is
complete. Allow two days for an ordinary good drying, without
artificial means, before handling.

A strong cold cement is made by mixing two parts of
cheese to one part of powdered lime, adding water until the
mixture is of a semi-liquid consistency. Mix and grind it
with a knife until it has become tacky. Apply this to the edge
of the china, and join the pieces carefully, allowing one day
for it to dry.

Many large crockery houses use this cement exclusively,
and find it very satisfactory.

.pm ic illustration_053.png 190px ''
.pn +1
.bn 054.png

.pb
.sp 4
.pm ic illustration_054.png 476px 'Kiln'

.pm ct 'FIRING CHINA'
.sp 2

If the kiln is raised upon a box or platform from 10 to
20 inches high, it is more convenient to stack, and also to
regulate the burner. Have the box covered with a piece of
zinc or sheet iron. Connect with the chimney in the most
direct way, using 7 in. pipe which must not taper. If the
chimney hole should be smaller, have it enlarged to this
size. Set the brackets in the support upon the side of the
kiln. Fill the can with kerosene oil and place upon the
bracket adjusting the funnel so that the oil will drop into it.
.pn +1
.bn 055.png
Place a small piece of asbestos fibre as large as a thimble in
the iron tray in the bottom of the burner, and keep the slide
in the burner well open.

<i>Kilns are shipped with the clay in a green state in order
to insure safe transportation</i>, and must be fired in order to
dry out any moisture <i>before</i> firing china.

Turn on the oil in a fast drop and apply a lighted match
or taper to the asbestos fibre, which has become saturated
with oil and will light. Allow the oil to flow in a broken
stream for about 15 minutes. By this time the burner has
become hot and will consume more oil. At first, the bottom
of the pan need not be more than one-half covered, <i>always
exercising care not to feed it too fast in the beginning</i>. As
the kiln becomes hotter, the oil may be increased gradually
and a red glow will be seen through the mica window in the
door. This will gradually increase until the whole interior
is red, also the flames may be seen through the mica window
at the top. From this time the oil may be turned on as
fast as the burner will consume it without overflowing.
Usually the first time it is fired it is best to allow the kiln
to run slowly for four or five hours or longer if necessary,
and until it shows a good red throughout the inside, and
hotter than for firing China.

The China may be stacked in any manner which is
convenient. Trays and plates may be placed on edge with
small stilts between, although the expert firer may stack
safely on edge without stilts as long as the glazed surface
of one piece is touched only by an unglazed bottom or rim
of the one next. If plates are piled one above the other, it is
always safer to have medium sized stilts between them. In
case of a large Jardiniere, Vase, or Punch Bowl, place a
large stilt beneath. It is frequently convenient to stack
.pn +1
.bn 056.png
large pieces on the side, in which case they may be raised a
little in the same way. Stack the china so that it will not
wedge at any place, and so that ventilation of air may circulate
about the pieces. Cups and saucers and small articles may
be stacked in any possible position separated by small stilts.
If you wish to use the shelves place the supports in the kiln
so that they rest securely, and place the shelves upon them.
Very few firers make use of them after they have become
accustomed to stacking without.

It is not necessary to heat the kiln each time before
firing, as moisture is not expelled from fire-brick into the
oven as it is from an iron firepot. Allow the oil to flow in
a small or broken stream for about 15 minutes, and then increase
a little. <i>The main point is to feed the oil very slowly
at first until the burner</i> has become hot, when it may be increased
gradually. The first red will show in about 40 minutes.
From this time on, the oil may be increased as fast
as the burner will consume it without overflowing. After the
interior of the kiln has been thoroughly red for some time
it will grow paler in tone and a glow commonly called Sunshine
will spread over it. This is the point to turn off the oil,
and stop the fire. You can see whether the gold has changed
color, and whether the pieces are glazed, especially any dusted
tints. If your colors come out dull, and if your rose or carmines
are brick color instead of a clear pink, or if your gold
rubs off, you may know that you have not fired long enough.
If your pinks or carmines have turned purple, you have overfired.
A few trials will enable you to know for yourself,
just the right length of time.

It takes from one hour and fifteen to an hour and thirty
to forty-five minutes. The time varies, depending upon the
draught and the way the oil has been fed.
.pn +1
.bn 057.png

The mistake is too often made, of firing by time entirely,
instead of being guided by the appearance of the kiln. After
having fired several times, one will have ascertained pretty
nearly just how long their kiln takes to fire, and this time is
not apt to vary greatly. Yet on some days, depending upon
different conditions, it may take a trifle longer or less time,
and so let your reason, rather than the clock, dictate the
proper firing.

The hole under the door is intended for a peep hole, to
see the condition of the fire in the combustion chamber, and
should be left closed. When the chimney draft is not good
a carbon may form over the burner in this combustion chamber,
and by the use of a small poker through this hole it
may be removed and taken out through the burner without
stopping the firing.

If the kiln does not seem to respond properly, and in a
reasonable length of time, you will, doubtless, find that there
in insufficient draught in the chimney. This is a most important
consideration, and if there is any cause, such as a
stove, or fire-place connected with the same flue which cuts
the draught, it must be removed. If attached to the same
flue as a furnace or stove, the latter must be entirely cut off
<i>when the fires are out in the summer</i>.

Sometimes it is necessary to have the chimney lengthened
or pipe added to the top, especially if there are tall buildings
or trees nearby. The chimney or additional pipe should not
have a hood or covering of any kind. In every case, an
imperfect draught is the only cause which prevents perfect
success from the start. When these conditions are right,
little or no carbon will be formed. If an accumulation of
carbon forms in the chamber above the burner, it is because
the draught is poor, and must be increased. By continuing
.pn +1
.bn 058.png
to fire with a poor draught, you run the risk of filling the tubes
and choking the kiln, which must then be cleared out before
firing again, even if the draught is remedied.

After firing a few times, frequently after the first firing,
small heat checks or cracks will appear in the different tubes
or linings of your kiln. This occurs in all fire-brick kilns
and has no serious significance. With kerosene oil as a fuel,
no injurious gases are formed, and no harm will come to the
most delicate ware. You may fire it with perfect safety, even
if the small cracks are not filled. After a time as the cracks
become larger, and seem of some consequence, they may be
filled with a paste made of fire-clay and water. Do not
merely plaster this paste over the outside, but force it well
into the cracks. In this way the kiln will last indefinitely.
Cracks are less liable to come if a little care is exercised
not to cool the kiln too fast, and not to open the door while
it is hot.

About three or four hours should be allowed for cooling,
and in opening the door be careful not to subject the
china to a sudden cool draught. Open the door only very
gradually, leaving a mere crack at first, then a little larger
space, etc. The sudden draught of cool air might cause the
china to craze and crack.

A piece of soft glazed ware, if taken from the kiln while
still too warm, is apt to show a crackled or crazed glaze,
and you will hear the little crackling sound produced by the
sudden contraction of the glaze.

.pm ic illustration_058.png 320px ''
.pn +1
.bn 059.png

.pb
.sp 4

.pm at 'Hibbard Powder China Colors in Vials'

.pm ic illustration_059.png 400px 'Color tube'
.sp 2

.nf c
<l><b>No Better Quality Made</b></l>
.nf-

.ta l:28 r:5
BLACKS

Best Black                       |10c
Outlining Black                  |10c

BLUES

Baby Blue                        |10c
Banding Blue                     |10c
Copenhagen Blue                  |10c
Deep Blue Green                  |10c
Royal Blue                       |15c
Turquoise Blue                   |10c

BROWNS

Auburn Brown                     |10c
Brown Green                      |10c
Chestnut Brown                   |10c
Deep Red Brown                   |10c
Finishing Brown                  |10c
Hair Brown                       |10c
Meissen Brown                    |10c
Yellow Brown                     |10c

GRAYS

Gray for Flesh                   |15c
Pearl Gray                       |10c
Royal Copenhagen Gray            |10c

GREENS

Apple Green                      |10c
Brown Green                      |10c
Darkest Green                    |10c
Deep Blue Green                  |10c
Empire Green                     |10c
Gray Green                       |10c
Moss Green                       |10c
Myrtle Green                     |10c
Olive Green                      |10c
Peacock Green                    |10c
Royal Green                      |10c
Russian Green                    |10c
Shading Green                    |10c
Yellow Green                     |10c

PINKS

American Beauty                  |24c
Rose                             |12c
Peach Blossom                    |12c
Standard Pink                    |20c
Sweet Pea Pink                   |10c

PURPLES AND VIOLETS

Crimson Purple, best             |36c
Dark Violet                      |12c
Dp. Violet of Gold               |28c
Royal Purple                     |20c
Ruby Purple, brilliant           |36c
Violet                           |15c
Violet of Iron                   |15c

REDS

Blood Red                        |12c
Carnation                        |10c
Deep Red Brown                   |10c
Pompadour                        |10c
Poppy Red                        |10c
Yellow Red                       |12c

WHITES

Relief White (Aufsetzweiss)      |12c
White Enamel                     |12c

YELLOWS

Albert Yellow                    |10c
Egg Yellow                       |10c
Imperial Ivory                   |10c
Ivory Glaze, for dusting         |10c
Ivory Yellow                     |10c
Lemon Yellow, rich               |10c
Oriental Ivory                   |10c
Primrose Yellow                  |10c
Trenton Ivory                    |10c

FLUX

Flux                             |10c

PASTE FOR RAISED GOLD

Vial                             |16c
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.pm at 'Hibbard Lustre Colors'

.pm ic illustration_060.png 130px 'Rose lustre'
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Lustre Colors are very effective in conventional style
decoration. In connection with powder or regular painting
colors, part of the design may be Lustre, either flowers, leaves
or parts of background that require special treatment to bring
out the beauty of the design may be treated with Lustre
if brilliant effect is desired. See chapter on use of Lustres
for complete color treatment and chapter on conventional style
painting for uses to which lustres may be applied.

.ta l:25 r:9 r:8 r:7
                          | ½ Bottle | Bottle | Ounce
Copper                    |  $0.30   |  ....  | $3.00
Dark Green                |   ....   |   .23  |  1.00
Gold Lustre               |    .30   |  ....  |  3.00
Iridescent Rose           |   ....   |   .24  |  1.00
Light Green               |   ....   |   .13  |   .60
Mother of Pearl           |   ....   |   .13  |   .60
Mother of Pearl, bluish   |   ....   |   .13  |   .60
Mother of Pearl, greenish |   ....   |   .13  |   .60
Opal                      |   ....   |   .13  |   .60
Orange Red                |   ....   |   .11  |   .50
Platinum                  |    .48   |  ....  |  4.95
Ruby                      |    .48   |  ....  |  4.50
Silver Lustre             |    .45   |  ....  |  4.95
Steel Blue                |    .27   |  ....  |  2.50
Violet                    |    .24   |  ....  |  2.25
Yellow                    |   ....   |   .11  |   .50
Yellow Brown              |   ....   |   .11  |   .50
Essence for thinning      |   ....   |   .08  |   .45
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.pm at 'Hibbard Medium'

.nf c
<l>FOR MIXING, PAINTING AND TINTING</l>
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.pm ic illustration_061.png 250px "Hibbard’s Medium"
.sp 2

Hibbard Medium is a combination of oils in proportions
best suited for mixing smoothly colors in either powder or
paste form. Gives the necessary time to blend tints and pad
ground perfectly smooth. For painting, mix color and medium
into a compact smooth mixture with palette knife. Can
be used with any make of colors and oils. It is not surpassed
by any preparation on the market, but is priced way below
other makes.

.ta lr
\ 1-ounce bottle          | $0.12
16-ounce bottle (pint)    |  1.35
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.bn 062.png

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.pm at 'Hibbard Gold'

.nf c
Manufactured by
THAYER & CHANDLER
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.if h
.il fn=illustration_062.png w=400px alt='Roman Gold'
.ca Jar No. 6
.if-
.if t
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[Illustration: Jar No. 6]
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Hibbard gold gives you the best value you have ever
seen in gold for china painting. Other golds on the market
are made by a manufacturer who sells to a jobber; the jobber
sells to the retail merchant and from the retail merchant it
reaches the painter. Don’t pay retail price for gold. Remember,
in buying gold from us, it comes direct from the producer.
We are in a position to give you more for your money
than any dealer.

Hibbard gold is put up in boxes and air tight screw top
porcelain jars made especially for this purpose. Boxes have
new metal HIBBARD GOLD PROTECTOR cover which
fits over the gold in contact with glass slab keeping the gold
moist and free from dust. Gold in jar is so well protected
from dust and air that there is practically no waste or deterioration;
it will keep indefinitely.

.ta lr
Jar No. 1. Roman or Unfluxed      |  $0.55
Jar No. 3. Equal to three boxes   |   1.50
Jar No. 6. Equal to six boxes     |   2.90

IN BOX ON GLASS SLAB

Per box, Roman or Unfluxed        |  $0.55
6 boxes, Roman or Unfluxed        |   3.20
12 boxes, Roman or Unfluxed       |   6.35
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.pm at 'Hibbard New China Painting Outfit'
.sp 2

Hibbard outfits have improved the standard of china painting sets
very materially and have new features which make these the best outfit
values ever offered. New Process Outline Designs are strictly up-to-date
and not found in other outfits. Selection of colors and material
was made by professional china painter. Useless and out-of-date
colors, etc., have no place in Hibbard outfits.

.sp 2
.pm ic illustration_063.png 580px 'Hibbard Outfit No. 2'

.nf c
HIBBARD OUTFIT No. 2
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Polished wood box, 9½ × 6½ inches, containing list of material
as enumerated below:

.nf b
1 Vial Yellow Brown
1 Vial Auburn Brown
1 Vial Yellow Green
1 Vial Peacock Green
1 Vial Best Black
1 Vial Banding Blue
1 Vial Albert Yellow
1 Vial Poppy Red
1 Vial Rose
1 Vial Violet
1 Vial Lemon Yellow
1 Vial Pompadour
1 Steel Palette Knife
1 Tinting Brush, No. 10
1 Square Shader, No. 6
1 Square Shader, No. 3
1 Pointed Shader, No. 2
1 Fine Outliner, No. 2
1 Bottle Mixing Medium
1 Bottle Turpentine
1 Bottle Outlining Ink
1 Mixing Palette, in tin holder
5 Brush Handles
1 Sheet Tracing Paper
1 Sheet Graphite Paper
1 Plate Divider
1 Instruction Book
12 new Process Outline Designs

Outfit No. 2, net wholesale price\ \ \ \ \ \ $2.98
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.bn 064.png

.sp 2
.pm ic illustration_064.png 600px 'Hibbard Outfit No. 3'

.nf c
HIBBARD OUTFIT No. 3
.nf-

Polished wood box, 12 × 9 inches, containing following large assortment
of high-grade material:

.nf b
1 Vial Best Black
1 Vial Banding Blue
1 Vial Copenhagen Blue
1 Vial Yellow Brown
1 Vial Auburn Brown
1 Vial Yellow Green
1 Vial Apple Green
1 Vial Deep Blue Green
1 Vial Brown Green
1 Vial Poppy Red
1 Vial Rose
1 Vial Ruby Purple
1 Vial Blood Red
1 Vial Albert Yellow
1 Vial Lemon Yellow
1 Vial Imperial Ivory
1 Vial Violet
1 Vial Oriental Ivory
1 each square shaders, Nos[**] 2, 4, 6, 8
1 each pointed shaders, Nos. 3, 5, 7
1 each long pointed shaders, Nos. 2, 4, 6, 8
12 Brush Handles
1 Tinting Brush
1 Steel Palette Knife
1 Sketching Pencil
1 Covered China Palette
1 Mixing Palette, Japanned tin
1 Bottle Mixing Medium
1 Bottle Turpentine
1 Bottle Outlining Ink
1 Sheet Tracing Paper
1 Sheet Graphite Paper
1 Box of Hibbard’s Roman Gold
1 Plate Divider
1 Instruction Book
18 New Process Outline Designs

Outfit No. 3, net wholesale price\ \ \ \ \ \ $6.70
.nf-

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Transcriber’s note:
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.in +4

Page 5, ‘green’ changed to ‘greens,’ “with greens and blues”

Page 6, ‘turqoise’ changed to ‘turquoise,’ “by mixing turquoise blue”

Page 6, Conventional Style Painting illustration moved to page 7

Page 9, comma inserted after ‘Yellow,’ “Albert Yellow, and Sea Green”

Page 10, comma added after ‘Berries,’ “Berries, Silver Lustre centres”

Page 18, ‘Currents’ changed to ‘Currants,’ “Currants of a lighter red”

Page 21, ‘flesh-shadow’ changed to ‘flesh shadow,’ “touched up with flesh shadow;”

Pages 21 and 22, all instances of ‘soft-flesh-tint’ changed to ‘flesh-soft-tint’

Page 24, ‘ground laying’ changed to ‘ground-laying,’ “the art of ground-laying.”

Page 25, ‘decorater’ changed to ‘decorator,’ “Here the decorator is cautioned”

Page 25, comma inserted after ‘medium,’ “medium, heavy or light ground”

Page 28, ‘drys’ changed to ‘dries,’ “if the color dries”

Page 31, ‘Then’ changed to ‘When,’ “When tinting with”

Page 32, ‘and’ changed to ‘any,’ “any diluting medium can be used”

Page 32, ‘of’ inserted, “oil of lavender”

Page 34, ‘a’ inserted, “end of a brush handle”

Page 34, ‘is’ changed to ‘are,’ “two applications of silver are necessary”

Page 36, ‘gold’ inserted, “If liquid bright gold is used”

Page 38, ‘no’ changed to ‘not,’ “use tissue paper, not cotton.”

Page 39, ‘hydrofloric’ changed to ‘hydrofluoric,’ “removed with hydrofluoric acid.”

Page 43, ‘star banding wheel’ changed to ‘the “Star” Banding Wheel,’ “with the “Star” Banding Wheel”

Page 43, ‘The operation of’ changed to ‘Operation of the,’ “Operation of the wheel is very simple.”

Page 43, ‘the’ inserted, “by using the “Star” Banding Wheel.”

Page 44, ‘botchy’ changed to ‘blotchy,’ “are sure to appear blotchy.”

Page 45, comma inserted after ‘roses,’ “pinks, roses, carmines, blues,”

Page 45, ‘matt’ changed to ‘Matt,’ “loses its lustre and becomes Matt.”

Page 51, ‘that’ inserted after ‘colors,’ “colors that cannot be produced are bought”

Page 51, ‘getter’ changed to ‘better,’ “enamels give better satisfaction”

Page 51, ‘Beleek’ changed to ‘Belleek,’ “a slight one on Belleek ware”

Page 64, full stop inserted after ‘Nos.,’ “1 each square shaders, Nos. 2, 4,”
.in