,illustration ,the ,,china ,,painter ,,instruction ,,book ,illustration ,second ,edition ,,published ,,by ,,thayer ,,chandler ,,chicago ,copyright #aiad1 by ,thayer ,chandler4 ---------------------------------------- -------------------------------- ,,table ,,of ,,contents ,page ,color ,mixing #c ,color ,combinations #e ,conventional ,style #g ,flower ,painting #ae ,leaf ,painting #af ,fruit ,painting #ag ,figure ,painting #bj ,tinting #bc ,ground ,laying #bd ,dusting #bg ,outlining #bh ,cutting ,out #cj ,pads and ,dabbers #ca ,slow or ,quick ,drying ,colors #cb ,paste or ,relief ,work #cc ,gold #ce ,gold ,burnishing #cg ,lustres #ch ,matt ,colors #db ,banding #dc ,oxidizing of ,colors #de ,glazing of ,underfired ,colors #df ,chipping of ,colors #dg ,enamel ,work #di ,china ,repairing #eb ,firing ,china #ed ---------------------------------------- -------------------------------- ,illustration ,,mixing ,,of ,,the ,,china ,,colors ,there are many things of which the beginner in china painting should be reminded4 ,it is most essential that he has clean tools and well mixed colors before attempting any work4 ,to be sure poorly ground colors are more quickly and more easily prepared1 but nothing but the very poorest results can be obtained from such haste4 ,after placing a small quantity of powder color on a clean slab and enough mixing medium to make a thick paste1 blend the two together with a small palette knife1 working with a rotary motion4 ,see well to it that no particles are left4 ,when blending1 keep the palette knife as flat as possible1 as there is danger of breaking it if bent too much4 ,mix well until the color is a smooth paste4 ,it will be found well to put a small amount of the mixing medium in a small dish and use from that1 rather than pouring it from bottle4 ,when thoroughly mixed1 put the color on one side of the palette4 ,blend another color and place next to the other one on the palette4 ,proceed in this way until all the tints wanted are prepared4 ,it will be found that some colors take longer than others to grind1 owing to their stony nature4 ,in this case a little patience is necessary for best results4 ,have a clean cup of turpentine and a small dish with a few drops of light working medium at hand4 ,use a clean1 square brush4 ,take the color desired1 rub down on the palette so as to have all of the brush moist with it1 and apply to the china1 of course it is understood that before beginning the work1 the design has been carefully drawn on the china1 either with a wax pencil or ,india ink and pen4 ,this drawing will disappear in firing4 ,if the design is carefully drawn on the china1 it will assist the decorator in easily placing the tints where they belong4 ,wash your brush in turpentine1 when changing colors1 and be sure to press the turpentine out with a cloth before dipping the brush into another color4 ,care should be taken to see that all colors are applied evenly1 always using the brush flat4 ,never hesitate to erase the design and repaint the china1 in case it is not entirely satisfactory4 ,this may seem a little discouraging but the result will reward one for the additional labor4 ,it is very necessary to clean all brushes and palettes used1 when through working4 ,brushes become hard when colors are allowed to dry in them4 ,throughout this work we devote special chapters to the various features of china painting such as lining1 mixing of colors1 etc41 and with this lesson we feel that the beginner has a fair start2 she will soon learn what the different combinations of colors will produce4 ,for instance1 blue and purple or blue and ruby make violet4 ,blue and yellow make a green1 green and a little black make gray1 reds mixed with black make brown4 ,do not mix lustre colors as results will not be satisfactory4 ---------------------------------------- -------------------------------- ,,color ,,combinations ,one feature of china painting that requires much study and consideration is the combining of colors4 ,a design that would be most attractive if the colorings harmonized1 would be almost a failure otherwise4 ,browns go well with nearly all colors1 but not as well with greens and blues as with some others4 ,clear blues1 with perhaps the exception of the darkest blues and ,copenhagen1 are not very satisfactory for borders4 ,a border of this combination1 however1 is very effective4 ,a beautiful shade can be produced by combining yellow brown1 finishing brown1 ivory yellow and just a little touch of gold4 ,violet of iron and auburn brown on a grayish ground1 combine very well4 ,pearl gray with ,copenhagen blue gives a soft effect4 ,ivory goes well with yellow-greens1 and violets with grayish tones4 ,a piece of china done in yellow tones1 with say a conventional motif decoration1 or yellow flowers1 looks well with a scroll of gold worked into it1 and should have a yellow background4 ,if delicate effects are desired1 yellow cannot be used successfully4 ,for soft backgrounds1 auburn brown1 violet of iron1 new green1 olive green and ,copenhagen blue are very good4 ,a design in gold on a broad border of ,copenhagen is both beautiful and effective4 ,there are few decorations stronger than this4 ,for ,turkish effects peacock and ,sultan green are used principally4 ,a little yellow1 green1 blue1 black1 red and dark brown can be used with success in this style of decoration4 ,a design in silver is very attractive on either a dark gray or green decoration4 ,strong and decided contrast in colors1 almost always produces pleasing results4 ,among the best are black and yellow1 black and red and black and yellow-green4 ,rose and red do not go well together4 ,neither does blue or blue-green go well with red1 but red and olive green contrast well4 ,for a beautiful dark blue1 mix banding blue with about one-fifth part of hair black4 ,ivory yellow or light green look well on a dark green band1 and gold on maroon4 ,to produce a good maroon use ruby purple and one-sixth part of peacock green4 ,a very beautiful color that we can hardly name1 comes from mixing three parts of peacock green with one part of crimson purple4 ,the result is about a deep steel blue4 ,if a dark green ground is treated with ruby or crimson purple1 before the second firing1 it produces a very warm effect4 ,combine one-fourth of ,russian green with ,copenhagen blue and you have dark gray4 ,yellows destroy red and should never be mixed4 ,a very delicate blue-gray can be produced by mixing turquoise blue and about one-sixth of black4 ,use more or less of black as desired4 ,violet and brown makes a striking color4 ,a light wash of hair brown or ,meissen produces a tan4 ---------------------------------------- -------------------------------- ,illustration ,,conventional ,,style ,,painting ,the old-fashioned naturalistic style of china decoration is a thing of the past4 ,one sees almost nothing of that sort in the metropolitan exhibitions1 because patrons of ,keramic art are weary of a type which admits of so little variety and individuality4 ,flowers and fruit have gradually been shaped into designs1 and these in many cases are so conventionalized that they have lost almost all resemblance to the original form4 ,there can be no doubt that conventional work has come to stay1 and there is a distinct gain in this4 ,endless opportunities are opened for the artist to show character in both composition and color4 ,the china painter of yesterday spent her time almost entirely on color4 ,the natural flowers were often placed almost anywhere on the china and were admired for color and treatment alone4 ,no wonder ,keramics was not considered an art6 ,to-day the artist thinks before she touches the color work4 ,a design should suggest the shape to which it is to be applied1 and proportion plays an important part4 ,a plate1 for instance1 with too wide a band is a pitiful thing1 and a design that is not properly bound together is to be shunned4 ,a low stocky looking piece may be treated with a motif used once on either side and connected with a gold or color band4 ,it is a common mistake to try to bind the body of a teapot1 or similar article1 and the spout and handle6 ,the two latter are entirely separate and demand other treatment4 ,plenty of plain background will enhance the effect of the design4 ,one can easily overload a piece of china with a design good in itself but too elaborate and large4 ,the first law of conventional design is that each form must be outlined4 ,when this is done the decorator should have a comparatively easy time1 and a remarkably interesting one1 for conventional work is adapted especially to wonderful color combinations4 ,the colors1 as a rule1 are more effective when laid on in flat tones4 ,shading is not at all common in strictly conventional work1 and one does not necessarily adhere to the colors nature has chosen for the object which suggested the design4 ,enamel and lustre are especially fitting to conventional design1 and gold may often be used for flower or leaf form where in naturalistic painting it would be entirely out of place4 ,for a long time keramic artists looked askance at the new style because of the amount of work required in outlining4 ,this was a tedious affair involving a fine brush or pen1 paint or ink1 which refused to work right1 and endless endurance4 ,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 painting4 ,those who are ambitious may now make a reputation without ruining their eyesight or taxing their patience4 ,illustration ,conventional ,single ,yellow ,rose4 ,primrose ,yellow shaded with ,apple ,green toward centre2 stamens may be ,gold or ,dark ,brown4 ,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 ,purple4 ,stems are painted with ,auburn ,brown4 ,a good background for this scheme is ,gray ,green lightly applied4 ,illustration ,conventional ,wild ,rose4 ,paint with ,sweet ,pea ,pink with very delicate application of ,apple ,green toward centre4 ,stamens are painted with ,ruby and center dot may be ,gold4 ,leaves are laid in with a mixture of ,apple ,green and very little ,deep ,purple4 ,roman ,gold or ,turquoise ,lustre is effective as a background for inside if design will admit4 ,for outside of design1 or general background1 use ,oriental ,ivory4 ,illustration ,conventional ,double ,pink ,rose4 ,use ,sweet ,pea ,pink and shade with ,standard ,pink in centre4 ,a very pleasing color scheme for leaves is ,yellow ,green ,lustre shaded with ,dark ,green ,lustre4 ,a ,pearl ,gray background is suitable for this combination4 ,illustration ,conventional ,rose4 ,these may be treated in either ,lustre colors or regular powder colors4 ,a suitable color treatment for lustre decoration is as follows3 ,lay in a flat wash of ,orange or ,yellow-,brown ,lustre except in centre1 this may be ,gold4 ,for leaves use a wash of ,light ,green and shade with ,dark ,green ,lustre4 ,stems may be ,brown or ,dark ,green4 ,mother of ,pearl is a suitable background for this treatment4 ,for regular powder color treatment1 apply thin wash of ,sweet ,pea ,pink with a touch of ,standard ,pink in centre4 ,leaves may be painted in with ,apple ,green shaded with ,shading ,green4 ,stems may be ,auburn ,brown or ,apple ,green mixed with just a touch of ,deep ,purple4 ,oriental ,ivory or ,gray for ,flesh is suitable for background4 ,either tint will harmonize4 ,the color for roses can be varied to suit individual taste4 ,primrose ,yellow1 ,blood ,red and ,rose are all suitable colors4 ,illustration ,conventional ,white ,primrose4 ,let the plain ,white ,china answer as white flowers1 touch centres with ,pompadour4 ,stamens may be of ,gold4 ,a good background for such a color scheme is ,pompadour with a touch of ,albert ,yellow1 and ,sea ,green with a touch of ,black mixed with it4 ,standard ,pink1 ,primrose ,yellow1 ,violet and ,blood ,red may be used for the flowers if preferred4 ,if bright colors are used1 keep background toned down with ,gray4 ,illustration ,conventional ,hawthorne ,berry4 ,for berry1 use a mixture of ,standard ,pink and ,yellow ,red4 ,centre may be ,black4 ,leaves should be painted with ,moss ,green shaded with ,shading ,green or ,apple ,green mixed with just a little ,deep ,purple4 ,auburn ,brown can be used for stems4 ,a flat band to harmonize with such decorations may be laid in with a mixture of ,empire ,green and ,russian ,green4 ,hawthorne berries and leaves may be treated in ,lustres as follows3 ,berries1 ,silver ,lustre centres shaded with ,dark ,green ,lustre4 ,background1 ,mother of ,pearl ,lustre4 ,illustration ,conventional ,columbine4 ,the colors of this flower are so varied so we will of necessity treat only a few4 ,banding ,blue 7pale7 or ,sevres ,blue are both very suitable for ,blue tints1 ,primrose ,yellow and ,albert ,yellow tints4 ,rose1 ,sweet ,pea ,pink for ,pink tints1 and ,violet for ,violet tints4 ,a very light application of ,violet should be applied for light tones and a mixture of ,violet and a little ,banding ,blue for darker tones4 ,use ,best ,black for stamens4 ,leaves are laid in with a light wash of ,apple ,green and shaded with ,shading ,green4 ,gray ,green and ,oriental ,ivory are both suitable for backgrounds4 ,combinations of ,violet ,lustre and ,mother of ,pearl ,lustre are also effective for background tinting4 ,illustration ,conventional ,poinsettia4 ,flower should be laid in with ,yellow ,red shaded with ,blood ,red toward centre2 ,yellow ,brown is used for stamens4 ,leaves are painted with ,moss ,green or ,yellow ,green shaded with a mixture of ,apple ,green and very little ,deep ,purple or ,shading ,green4 ,copenhagen ,blue may also be used for leaves in extreme shadow4 ,illustration ,conventional ,cyclamen4 ,apply a wash of ,standard ,pink for flowers4 ,blood ,red may be used for ,deep ,red effects4 ,leaves may be painted with a mixture of ,apple ,green and a touch of ,deep ,purple or with clear ,olive ,green4 ,background for this combination may be ,roman ,purple or ,violet ,lustre4 ,for yellow flowers use ,primrose ,yellow mixed with ,albert ,yellow1 with back petals of pale ,meissen ,brown4 ,leaves may be laid in with ,moss ,green and stems with ,shading ,green4 ,roman ,gold makes an effective background for above the design and ,oriental ,ivory for below4 ,illustration ,conventional ,grapes4 ,a light wash of ,roman ,purple should be used for large berries and darker application for smaller berries4 ,silver ,lustre may be used for small berries at the bottom of cluster4 ,to work up the design in semi-lustre effect1 ,silver ,lustre may be used for leaves1 and stems laid in with ,black4 ,royal ,copenhagen ,gray background4 ,illustration ,conventional ,apples4 ,apply wash of ,primrose ,yellow1 shade with ,yellow ,red4 ,another effective combination is ,yellow ,red shaded with ,blood ,red4 ,leaves may be painted ,moss ,green shaded with ,shading ,green4 ,stems should be painted with ,auburn ,brown4 ,for background use ,copenhagen ,gray1 shaded into pale ,violet mixed with a touch of ,black4 ,a very pretty lustre effect is to lay in some of the fruit with ,orange ,lustre and others in ,roman ,gold4 ,the leaves may be painted with both ,lustre and painting ,tints--some may be ,orange ,lustre and others ,meissen ,brown color4 ,stems should be ,auburn ,brown4 ,an artistic background would be either clear ,oriental ,ivory or ,oriental ,ivory mixed with a touch of ,black4 ,it must be borne in mind that these color schemes are intended to be used strictly in connection with conventional ,new ,process ,black ,outline designs4 ,they are not intended as suggestions for natural style painting4 ,it is not advisable to make use of these instructions unless in connection with black outlines4 ,illustration ,conventional ,oranges4 ,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 ,lustre4 ,the flowers may be left plain ,white with touch of ,gold in centre4 ,use ,green ,lustre for leaves and ,dark ,empire ,green and ,auburn ,brown may be used for stems4 ,in background of ,celestial ,turquoise put in a few touches of ,meissen ,brown next to fruit and under leaves4 ,warm ,gray or ,oriental ,ivory with touch of ,black mixed with it may also be used for background4 ,illustration ,conventional ,poppies4 ,for a cluster design the centre flower may be painted with ,light ,carnation1 others with ,sweet ,pea ,pink4 ,poppy ,red and ,yellow ,red are also suitable tints4 ,stamens should be painted with ,black or ,violet mixed with ,black4 ,seed pods may be painted with ,gray ,green tipped with ,black4 ,leaves and stems may be laid in with ,apple ,green shaded with ,shading ,green4 ,for background use ,oriental ,ivory mixed with touch of ,black4 ,for lustre decoration use ,rose ,lustre for centre flower and a thinner application for outside flowers4 ,seed pods may be ,gray ,green painting color and stamens ,gold4 ,leaves may be painted with either ,light ,green ,lustre or ,apple ,green painting color4 ,stems should be the same4 ,background of ,mother of ,pearl ,lustre or ,oriental ,ivory painting color4 ,illustration ,bittersweet4 ,some of the berry forms ,yellow-,red1 others ,albert ,yellow mixed with ,pompadour4 ,moss ,green is a very good tint for upper leaves and ,apple ,green mixed with a touch of ,deep ,purple for lower leaves2 a touch of ,black may be added to this mixture for darkest leaves4 ,auburn ,brown should be used for stems4 ,background of ,oriental ,ivory mixed with a touch of black is effective for such an arrangement4 ,if the design is a panel effect bordered with bands1 ,gold may be used to good advantage for bands4 ,illustration ,tulips4 ,if the design be a cluster1 the larger flowers may be painted with pale ,primrose ,yellow shaded with ,yellow ,green at base4 ,if any petals turn or curl back into the background these may be laid in with ,violet of ,iron4 ,sweet ,pea ,pink and combinations of ,white and ,pink 7striped7 may be used with good effect for other flower forms4 ,stamens may be painted in with black4 ,for leaves use ,yellow ,green or ,gray-,green at top1 shaded into ,royal ,green1 and at base use ,shading ,green4 ,for background use ,royal ,copenhagen ,gray from a very light tone at top shaded into deeper tones at bottom4 ,illustration ,nasturtiums4 ,this popular motif may be painted in a great variety of color schemes4 ,for ,yellow flowers use ,primrose ,yellow 7various shades74 ,ivory ,yellow and light application of ,yellow-,brown4 ,pinks and ,blood ,red may be used for other shades and mixture of ,blood ,red and ,auburn ,brown for ,mahogany shades4 ,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 ,purple4 ,moss ,green mixed with ,gray-,green is also a good combination4 ,for background use ,auburn ,brown next to the design1 blended into ,oriental ,ivory4 ,illustration ---------------------------------------- -------------------------------- ,illustration ,,flower ,,painting ,it would be impossible in this small work to go into detail of this subject1 considering the number of flowers we would have to deal with--consequently we will deal only with the most popular subjects4 ,when painting an ,american beauty rose1 paint the center and shadows in crimson purple1 mixed with about one-sixth part of darkest green4 ,the half shadows are done in crimson purple1 leaving the lighter parts white4 ,use colors of medium thickness4 ,the piece is then ready for the first firing4 ,next go over the light parts with ,american beauty color1 but treat the shadows with crimson purple4 ,be especially careful about keeping the shape of the rose as true as possible4 ,use crimson for the detail work of the petals4 ,fire the second time4 ,if a third firing seems necessary1 retouch1 using the same colors4 ,when very delicate shades are desired1 in rose painting1 a light dusting of brown-green toward the centre will prove effective4 ,some of it can be dusted over the background4 ,this should be done before the second firing4 ,the centre of a rose should always be a pure rose color4 ,if colors are applied too thickly1 they are sure to chip off4 ,it has been learned by experience that dark greens are the most satisfactory to use with purple or ruby when dark effects are needed4 ,blacks and browns mixed with purple usually oxidize4 ---------------------------------------- -------------------------------- ,illustration ,,leaf ,,painting ,the average artist pays too little attention to the foliage in flower painting4 ,he starts out to paint a flower and the leaves seem like a secondary consideration4 ,any handling is often thought to be good enough4 ,this is a great mistake1 as the treatment of the leaves may be the making or marring of a decoration4 ,many people are of the opinion that they are very easy to paint4 ,this is another mistake4 ,they are just as difficult and require as careful handling as the flowers or fruit itself4 ,it would be very hard to give definite instructions on this subject4 ,the many varieties with their various beautiful edges and veinings1 need individual handling1 just as much as flowers do4 ,the shape of the article on which the decoration is placed1 has much to do with the handling4 ,there are1 however1 a few rules that will generally apply4 ,leaves must present a crisp appearance4 ,to accomplish this1 the color should be applied with as few strokes as possible4 ,all detail work must be left for the second firing4 ,large regular leaves can be completed with two strokes--using the dark color for one and lighter color for the other4 ,the student should aim to make irregular leaves as simple as possible4 ,it stands to reason1 however1 that more strokes will be necessary for these than for regular ones4 ,in china painting1 lights are supplementary4 ,it is the shadows that give real character to the subject4 ,these should be fired first1 and the lights second4 ---------------------------------------- -------------------------------- ,illustration ,,fruit ,,painting ,one of the important points of fruit--and flower painting as well--is the proper form of leaves4 ,some decorators fall into the habit of painting leaves of blackberries1 currants1 grapes1 plums1 etc41 all in the same irregular and ragged manner for which there is no excuse other than lack of experience or painting leaves from memory4 ,above all we advise the student to study the different leaves carefully4 ,there is such a variety of fruits and flowers that volumes could be written in describing them1 so we will confine our efforts to instructions on painting the fruits most commonly used as designs for china painting4 ,these are blackberries1 cherries1 currants1 plums1 grapes and a few other varieties4 ,blackberries and wild cherries are laid in with a wash of black for the first firing1 which should be applied only on the dark side of the berries4 ,the light part and the highlight should be left pure white4 ,for second firing1 apply a wash of banding blue and black with a little purple added to give it warmth4 ,wipe out one or two sharp highlights just above center of berry to give it fullness and transparency2 the piece is then ready for second fire4 ,should a third fire be required1 be careful not to use too much black as dark colors are apt to blister if applied too heavily4 ,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 fire4 ,you must not omit wiping out highlights which are especially noticeable on fruits with smooth skin4 ,red ,cherries4 ,for painting red cherries1 use dark pompadour for the dark parts and poppy red for the lighter portion4 ,violet or iron is a good color to use for deep cherries4 ,currants4 ,for currants1 dark pompadour is a good color to use1 but it should be kept thin and the highlights must not be forgotten4 ,currants of a lighter red may be painted with poppy red4 ,plums4 ,crimson purple and banding blue are used in painting plums--about three parts of blue to one of crimson purple4 ,this same combination may be used for second firing1 with a light wash of black for deepest shadows4 ,grapes4 ,for painting dark blue grapes1 use a mixture of about two parts banding blue to one part each purple and black4 ,a strong contrast between light and shade should be an essential4 ,red grapes are treated the same as those above1 but here violet of iron should be used for shadows1 and dark pompadour mixed with about one-eighth part ruby for lighter portion4 ,these applications should be applied very lightly4 ,green ,grapes4 ,shadows of green grapes should be laid in with a light wash of olive green4 ,the light parts are left white4 ,a delicate stroke of egg yellow around the under side of berry will give transparency to the fruit4 ,the reddish tones may be added with a mixture of poppy red and pompadour for second firing4 ,strawberries4 ,it will be noted that dark pompadour is a very useful color for fruits4 ,the shadows in the strawberries should also be laid in with this color and the light parts with a very light application of light pompadour4 ,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 firings4 ,crab ,apples4 ,paint in the dark parts with brown green1 and a light wash of yellow brown and yellow green over the light parts for first firing4 ,add the reddish tone with a mixture of dark pompadour and yellow red1 and refire4 ,oranges4 ,oranges are usually painted with yellow brown4 ,shadows are obtained by laying one application over another1 and blending out the color thinly for lights4 ,red ,raspberries4 ,these are laid in with dark pompadour for both light and dark parts4 ,gooseberries4 ,lay in the shadows of the tints with moss green and apply wash of apple green over the light parts4 ,ripe gooseberries have a pinkish cast4 ,to obtain this tint1 a light dusting of peach blossom over a very light application of light pompadour will produce a delicate pink1 very suitable for this purpose4 ,peaches4 ,the greenish cast in the outer edge of dark shadows of peaches1 is laid in with brown green4 ,this color should be blended with the light parts with a wash of bluish violet color4 ,for the pink tones of the fruit apply a light wash of dark pompadour and the painting is ready to fire4 ,for the second firing1 paint over the entire fruit with a mixture consisting of one part of yellow brown and two parts of ivory yellow4 ,then strengthen the reddish tints and the shadows4 ,do not attempt to work too fast by using the colors too thick4 ,china colors should be used sparingly4 ,the strength of tints is obtained by frequent firings4 ,flowers or fruit painted with repeated applications of color will appear soft1 glossy and transparent4 8,dusting of colors10 which has been treated under separate heading1 will be invaluable in obtaining the delicate blendings so necessary in all natural styles of decoration4 ,after fruit and grounds have been painted1 light dusting of powder colors such as delicate yellow browns1 greens and light pinks may be applied with cotton rubbing lightly over fruit and background to produce a soft1 harmonious relation of tints4 ---------------------------------------- -------------------------------- ,illustration ,,figure ,,painting ,the art of figure painting is somewhat difficult compared with the other styles of china decoration1 and has been made more so by the introduction of many unnecessary colors and methods of applying them4 ,the beginner who has tried to follow these complicated methods has become discouraged in this very interesting and valuable art of china painting4 ,figure painting on china has been greatly admired and if a simplified and understandable method were taught1 it would become one of the most popular styles of decoration4 ,egyptian1 ,greek1 ,roman and ,renaissance decorations of pottery are all very beautiful1 and in these we find figures as the motif1 painted both in conventional and in natural style4 ,these decorations do not seem to have been generally followed1 although quite easy to produce4 ,but in this chapter we will consider flat figure painting4 ,this being supplementary1 it will be found to be the easiest way to produce figures in their natural colors4 ,in this work1 the first requisite is to have the drawing on the china absolutely correct4 ,this can be traced from a drawing on paper on to the vase and special attention should be paid to having clean cut1 perfect lines4 ,in handling the subject of flesh tones we will speak first of the face1 and by the use of the same process1 all flesh colorings1 even full nudes can be painted4 ,having drawn the features as lightly as possible1 outline them with flesh shadow very lightly4 ,then proceed to the shadows of the face4 ,these must be done very smoothly with the same color4 ,on the edge of the shadow add a little flesh gray toward the lighter part of the face4 ,this neutral tone1 between the light and shadow1 is seen on a person with a good clear complexion4 ,these colors should not be mixed but blended well and carefully4 ,the gray should be a pure tone although very light1 as the figure will be spoiled if it is too heavy1 for in firing it will be inclined to turn green4 ,outline the lips faintly with flesh tint and in the same way apply the color desired for the eyes and hair4 ,to be explicit we would say that flesh shadows and flesh gray only are used to paint a face--and the lights left white4 ,all the work must be done while the colors are fresh1 and done smoothly so that they will be well blended4 ,if these details have been carefully observed--the article is ready for firing4 ,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 shadow1 while the wash used is still moist4 ,the gray tone should not be used a second time as the first application will show through the flesh tint as a soft warm gray4 ,retouch and strengthen wherever it is found necessary1 and cover the lips with a touch of flesh-soft-tint4 ,remove all the little high lights1 and the article is ready for a second firing4 ,pay attention to this suggestion4 ,for first firing always use flesh shadow and flesh gray and for second firing use flesh shadow and flesh-soft-tint4 ,for third firing1 shadows should be touched up with flesh shadow2 touch up the cheeks with a light application of flesh-soft-tint1 and use the same color to shade the lips4 ,hair1 eyes1 etc41 may be now finished and the piece fired4 ,it is plain from this short explanation that a method of figure painting could not be more simple and productive of good results4 ,the student is not apt to become confused when only these flesh colors are used4 ,flesh gray mixed with flesh-soft-tint makes a darker tone1 suitable for shadows of the eyes1 etc4 ,flesh shadows may be added to the above mixture4 ,with a little practice it will be found that by this method of figure painting satisfactory results are obtained in a very short time4 ,the following suggestions should be observed when painting hair for faces of light complexion3 ,apply a wash of flesh shadow1 for shaded parts only1 for first firing1 leaving the lights pure white2 for second firing1 a wash of yellow brown should be applied over both light and dark parts and the shadows retouched4 ,dark hair is painted in the same manner1 using hair black softened slightly by adding one-sixth part banding blue4 ,flesh gray is used for painting gray eyes1 and finishing brown for dark eyes4 ,chestnut colored hair is painted with hair brown or finishing brown4 ,the various colors for painting hair as treated above may be mixed with other colors to suit the preferences of the artist4 ,it is well to remind the decorator here that the one great fault that the artist has to guard against is1 using too strong a red for faces4 ,use flesh tones and light grays sparingly and bear in mind1 never use yellow as it produces a disagreeable effect4 ,nude figures are painted according to the same methods as explained for painting faces4 ,brunettes require stronger shadows and grays1 but the flesh-soft-tint is used for both light and dark complexions4 ,illustration ---------------------------------------- -------------------------------- ,illustration ,,tinting ,in tinting china1 the best results are always obtained by using freshly mixed colors4 ,they work more easily and smoothly4 ,a broad tinting brush or square shader should be used for this work--one color or a combination of colors may produce a tint4 ,apply the color as smoothly as possible1 but if it is found to be not quite even1 pad it with a cloth or pad4 ,some colors contain more grit than others--and are more difficult to pad4 ,in applying such colors as yellow-brown1 brown-green1 apple-green1 dark pompadour and pink1 it is necessary to dampen the pad with mixing oil4 ,when using the smoother tints1 it will only be necessary to tint the pad1 by touching it to the color4 ,the effect will be improved and deepened by a dusting of colors when the tint is about dry4 ,the term 8flushing0 is sometimes used when tinting is used for a background4 ---------------------------------------- -------------------------------- ,illustration ,,ground-,,laying ,there is probably no feature in the painting of china that gives the student more anxiety than the art of ground-laying4 ,he is confronted by many difficulties1 but when the art is mastered1 feels well paid for all his work4 ,the beautiful results are sufficient reward4 ,a perfectly even and lustrous ground is obtained by applying powdered colors over a well padded wash of tinting oil4 ,the results are more satisfactory than a well padded ground made of color mixed with oil before applying4 ,the best quality of grounding or tinting oil is the first essential4 ,in fact it is upon this1 to a great degree1 that the success of the work depends4 ,a tinted oil is usually used4 ,pour into a small dish the desired amount of oil4 ,see that no lumps or bubbles are in it4 ,then with a clean square tinting brush apply the oil quickly over the surface to be laid with color4 ,it is not necessary that the work should be very carefully done--but care should be taken to see that all the space is covered4 ,have ready for use two medium soft pads1 free from lint4 ,pad the oil over and over again with one pad until it looks like a smooth soft tint1 then repeat with the second pad4 ,this second padding may not be necessary1 but it cannot do any harm and it certainly will improve the smoothness of the oil4 ,here the decorator is cautioned to see that the oil is perfectly even1 free from spots and scratches1 as these faults would be noticeable after the color is applied4 ,it is best to wipe off all the oil and make another application instead of trying to correct a fault on the padded oil4 ,after the oiled china has stood for half an hour or so1 the powdered colors can be applied4 ,have plenty of color on a plate and1 holding the piece of china over it1 take up with a piece of soft cotton as much color as it will hold1 and drop it over the part of the china to which the oil has been applied4 ,care should be taken to hold the piece flat that is to be decorated1 for if it is held upright1 the color will naturally drop off4 ,a good amount of color should be kept on the cotton while applying tint4 ,after the oil is covered1 dust with clean cotton several times4 ,if any superfluous color remains1 remove it with a soft brush4 ,now turn to our chapter of cutting out4 ,if anything of this nature needs to be done1 now is the time to do it4 ,after firing this ground should be heavy and have a strong glaze4 ,by adding turpentine to the oil and mixing well a medium1 heavy or light ground can be obtained4 ,by the use of turpentine the oil is made lighter and less color adheres to it4 ,sometimes the powder colors will be found hardened from packing in the vials and come out in hard pieces4 ,pulverize these pieces well and sift them through a cheese cloth if necessary4 ,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 colors4 ,in applying the darker colors use sparingly as it approaches the lighter tint and avoid leaving a sharp line4 ,blend the two colors together until the combination is of very smooth and soft appearance4 ,the more turpentine mixed with tinting oil the thinner will be the coat of powder adhering to it1 naturally a lighter ground is the result4 ,for purple1 violet color1 maroons and pinks use light oil for grounds4 ,it is difficult to remedy a scratch or imperfection on dusted grounds4 ,if it is done with moist color and brush1 bear in mind that dry powder applications fire much darker than colors applied moist with brush1 and gauge the color accordingly4 ,for a brilliant effect1 dust the unfired background with a flux or glaze4 ,for warm colors such as browns1 red and flesh tones1 this is not necessary1 but it will improve dark greens and blues4 ,it is unsafe to try to paint over dry unfired grounds4 ,to lay grounds in ,matt colors1 proceed in this manner4 ,use a little turpentine with the oil for ,matt color dry grounds4 ,these colors are opaque and it will not be noticeable if there is a slight variation in thickness in applying them4 ,it is advisable1 however1 to have just a medium application4 ---------------------------------------- -------------------------------- ,,dusting ,in other chapters we have explained the process of dusting in underglaze work and ground laying1 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 colors4 ,this process is very similar to that used for underglaze work4 ,for illustration1 we will assume that you have a decoration in green or light ivory--and that you desire a warmer tint4 ,in this case any warm color such as yellow-brown or yellow-red can be dusted on the decorations that are already dry4 ,the color may be applied with a dry brush or piece of cotton and rubbed very gently4 ,a small amount will adhere to the china--and thus the desired effect will be obtained4 ,any number of colors can be applied in this way and blended well together4 ,heavy grounds can be strengthened by the use of dark colors1 such as browns1 purples1 greens and blues4 ,while the delicate tones are softened by the use of lighter shades4 ,in the painting of flowers1 dusting is often used to soften or darken them4 ,this process1 however1 is not always confined to the flower alone1 but is used to blend the rose1 or whatever the flower may be1 with the background4 ,it has a very softening and pleasing effect4 ,in figure painting1 dusting a flesh tone on the cheek will improve it very much4 ,an artist will feel well repaid for time devoted to investigating the many possibilities of this branch of painting1 for crude and uneven work can be remedied by this process4 ,gold or silver must not be applied after an article has been dusted in this way4 ,the metal is usually tacky and may retain some of the little particles1 and this would mar the brilliancy of either metal4 ---------------------------------------- -------------------------------- ,illustration ,,outlining ,for outlining china1 this method--which saves one or two firings--can be used and will be found most practical4 ,mix whatever dry color you wish1 with water and add a couple of drops of mucilage or sugar syrup4 ,mix well with palette knife4 ,use this mixture as you would water colors--and outline the design with a lining brush4 ,the lines will dry very quickly and in case you want to erase them1 use water4 ,then1 too1 if the color dries on the palette1 water should be used--and mix well4 ,these outlines will remain perfectly1 and you can paint and repaint over them--there being no danger of rubbing off and will show through oil mixed colors4 ,if the background is applied with regular mixed colors--and the design cut out and tinted1 you can have a piece of decorated china complete with one firing4 ,the outlines will fire clearly1 but if outlined in ,india ink they would have disappeared4 ,when this method of outlining is used1 a brush should be used instead of a pen4 ,when using a pen in outlining1 mix the colors with mixing oil--to about the consistency of that would be used in painting4 ,dilute this sufficiently with diluting medium1 so that it will flow readily from the pen4 ,experience will soon teach you the right consistency4 ,it is just as undesirable to have it too thin as too thick4 ,for small lines use a fine pen and a coarse one for heavier work4 ,a small brush can be used successfully4 ,india ink is used for outlining china for decorating4 ,this disappears in firing4 ,it does not injure the gold or colors--but the ink lines can be seen when lustres are applied over them4 ,when the ink is perfectly dry1 the china colors can be applied4 ,to make a broad outline1 paint the line with grounding oil that has been mixed very well with a small amount of lampblack4 ,draw the lines1 then dust the powdered color over them4 ,you can be sure of obtaining a perfectly even color effect1 if the banding is done in this way4 ,when outlining with gold1 use a mixture of pure ,roman gold and diluting medium4 ,when mixed with a diluter1 ,roman gold may be applied with either a pen or a brush4 ,do not use turpentine or liquid bright gold4 ,burnish silver can be handled in the same way4 ,when using liquid bright gold or lustre1 you can use a brush or pen1 whichever you choose4 ,outlining in color can be done over fired colors1 golds1 silvers and lustres1 but be careful not to apply it too heavily or it will flake off4 ,you can outline in color over unfired dry tints and unfired1 well dried ,roman gold4 ,the powder must be mixed with water when used over unfired lustres4 ,the lustres would be spoiled if turpentine or oil was used as they spread too easily4 ,the best thing to use in gold outlining is diluting medium with powder gold1 but lavender oil is very good4 ---------------------------------------- -------------------------------- ,,cutting ,,out ,sometimes it is necessary to wipe out a design from a background4 ,in this case the following suggestions are recommended3 ,the design to the 8cut out0 must be seen from underneath the tint4 ,a design to be wiped out of a tinted background must necessarily be drawn in with ,india ink4 ,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 line4 ,dusted backgrounds require about twenty-four hours to dry1 but by artificial heat the time is considerably shortened4 ,to remove the tint covering the design1 make a mixture of oil of cloves and a few chips of soap4 ,apply a light coat and be careful that it does not spread beyond the lines4 ,the color requires about five minutes to soften and may then be removed with a piece of cloth over the finger tip4 ,do not try to remove the tint until the design is perfectly dry4 ,use care in removing the color so as not to drag it over onto the background1 change cloth frequently so that you are constantly working with cloth free from oil and color4 ,designs may be 8cut out0 from powdered background by using a stick and scraping off the tint4 ,it should be done while the tint is still fresh4 ,the former method1 however1 is more satisfactory1 tar oil may be used instead of oil of cloves if preferred4 ---------------------------------------- -------------------------------- ,,pads ,,and ,,dabbers ,to help in the making of even grounds1 pads and dabbers are used4 ,they are also used for flushing combined colors4 ,these can be made of any soft material1 such as cheese cloth1 silk1 etc4 ,the softer the material is1 the more satisfactory the work will be4 ,a medium hard ball of cotton can be covered with the material and used for this purpose4 ,be sure to see that the material is without wrinkles4 ,singe all lint off of the dabber with a lighted match4 ,in padding color dab quickly and lightly1 working the tint evenly by light1 gentle tapping4 ,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 washed4 ,fine cheese cloth will do1 especially on heavy grounds4 ,cheese cloth will permit the cotton to absorb some of the oil and it does not retain much of the tint4 ,professional decorators of china use this method in tinting4 ,color should not be padded while very fresh as a large part of it would be taken up by the pad4 ,more satisfactory results are obtained by allowing the tint to become slightly 8tacky0 before padding4 ,for best results in spreading heavy tints1 fitch hair stippling brushes or dabbers are used before using cloth pads4 ,if the pad produces an uneven or grainy effect1 rub the superfluous color from it with a piece of paper4 ,moisten the dabber lightly with oil before proceeding with the work4 ,when tinting with banding blue1 yellow-brown1 grays or pinks a little more oil should be applied to the pad4 ,fine cotton or lamb's wool are suitable for making pads4 ---------------------------------------- -------------------------------- ,,slow ,,or ,,quick ,,drying ,,colors ,almost every student experiences difficulty1 at times1 with the uncertainty of colors drying in the way desired4 ,sometimes they will dry too rapidly and at others not fast enough4 ,it is well to use diluting medium to keep the colors moist1 but use a regular mixing medium with colors4 ,oil of lavender is not practical as it dries quickly4 ,mixing oil is too thick4 ,slow drying colors are essential in painting broad grounds4 ,very often time is needed for changes in designs4 ,it is always necessary to have something to moisten the brush with while working--any diluting medium can be used then4 ,only a very little is necessary and no other oil need be used4 ,for very slow drying add a drop or two of oil of cloves when mixing the colors4 ,naturally1 the colors will remain moist according to the amount used4 ,should too much be used1 the colors will run4 ,sweet oil is also used1 but less should be used than of the oil of cloves or the colors may remain moist for several days4 ,turpentine or oil of lavender are the mediums used for quick drying4 ,colors will dry quickly and thoroughly1 if a little turpentine is added and mixed well with the colors that have been previously well mixed4 ,to dry colors or keep them from running1 a little steam will be effectual4 ,perhaps it will be only necessary to breathe on the surface4 ---------------------------------------- -------------------------------- ,illustration ,,paste ,,or ,,relief ,,work ,,for ,,gold ,the beginner is confronted frequently with two difficulties in paste decoration4 ,these are flattening of the paste after the application1 and chipping off4 ,these can usually be traced to one of two things3 the use of the wrong quality of oil or to using too much4 ,unsatisfactory results will always be obtained if the paste is insufficiently ground4 ,it is well to grind it well with turpentine4 ,allow it to dry1 and then mix with oil--a horn or steel knife can be used4 ,some of the professionals who do the finest work for the ,english and ,french manufacturers1 mix their paste with two parts of fat oil and one part of oil of tar4 ,the paste should be mixed to a half thick consistency with the oil that is to be used1 and worked until it is smooth4 ,special care should be taken to following these instructions4 ,the paste now being about like freshly mixed china colors1 stir with a knife and breathe upon it4 ,keep stirring until it is hard and gathers to the knife in a stringy way4 ,reducing the paste to the right consistency is the most important feature of the work4 ,it should be of such consistency that when taken up it will keep in good shape while hanging to the paste brush4 ,if a small amount of water should be used instead of breathing upon it1 great care should be used not to use too much4 ,too much humidity will cause the paste to become stiff4 ,a single long stroke produces the best results in laying paste lines4 ,frequent touches produces an uneven line which will mar the beauty of paste work4 ,be sure to lay the paste high and round like a thin cord4 ,if it should flatten1 too much oil has been used2 breathe upon it again until proper consistency is obtained4 ,keep paste in as small and round a heap as possible while it is being used4 ,it is best to mix fresh paste for each day's work4 ,if you should wish to remix paste1 use as little oil as possible4 ,to straighten an uneven line cut the end of a brush handle to a sharp edge and smooth or move the line in place4 ,a brush moistened with turpentine will sometimes do the work satisfactorily4 ,do not let the brush become clogged with paste while working4 ,clean it frequently by wiping it on a cloth4 ,dresden paste brushes are best for this work4 ,paste may be applied over fired colors or lustre if desired4 ,be sure the paste is well dried 7not artificially7 before firing4 ,to obtain the best results paste should be fired before gold is applied4 ,however1 in case of emergency gold may be applied over unfired paste provided it is perfectly dry and hard4 ,if paste should1 for any reason chip off1 the space should be filled in with fresh paste4 ,dry thoroughly and apply gold--then fire as before4 ,unfluxed gold should be used over paste4 ,for silver paste decoration1 two applications of silver are necessary for best results4 ---------------------------------------- -------------------------------- ,,gold ,a brush used for gold should be used for that purpose only4 ,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 color4 ,pour a very little turpentine on the paste if it is too dry and work well with a palette knife4 ,a drop of liquid bright gold will soften ,roman gold quickly4 ,don't use turpentine if you use liquid gold4 ,another way 7although perhaps not quite as good a way7 to soften gold quickly is to warm it over a flame1 then add a little turpentine4 ,the objection to this process is1 that after it has cooled it is harder--and the results are not as satisfactory4 ,we find in gold work1 it is safe to use liquid bright gold for the first firing and ,roman gold for the second4 ,liquid bright makes a good foundation for ,roman gold and makes a good wearing combination4 ,it is not well to use unfluxed gold on hard china as it rubs off very easily4 ,roman gold is used for this china and hard or unfluxed gold on the softer wares1 such as ,belleek4 ,gold requires a medium firing--and when practical it should be applied in the last two firings4 ,if an article that is decorated with gold requires refiring on account of some defect in the other decorations1 the gold will need to be gone over again or you may have to give the piece an extra firing for the gold4 ,if gold is overfired it will fade white2 on the other hand1 if it is underfired it will rub off in burnishing4 ,it is very necessary to remember one thing in burnishing gold4 ,if any of the glass fibers are allowed to remain on the decoration when the article is undergoing a second firing1 they will eat the colors1 and the work will be nearly if not quite spoiled4 ,it is unwise to burnish an article near where you are working1 as the particles get into the colors and act the same when the colors are fired4 ,wash each article after burnishing4 ,after each firing of an article1 burnish the gold1 for handling1 or moisture from the hands1 or dust are sure to show4 ,lustres are applied after the gold is burnished4 ,there are many reasons for gold looking dirty4 ,sometimes it is due to the china being dusty4 ,maybe the brushes were not clean or a poor quality of turpentine was used4 ,gold will not stand too much mixing1 consequently it is well to have only the amount needed on the slab4 ,after the student has had some experience in handling gold1 he will probably be able to apply it over unfired paste4 ,the paste1 however1 must be absolutely dry4 ,but the safest way to obtain the best results is to fire the paste first4 ,care should be taken not to apply the gold too thick or it will blister and peel off4 ,if liquid bright gold is used with ,roman gold use no turpentine4 ,in fact never use turpentine with liquid bright gold4 ,when it is found necessary to remove fired gold1 it can be done with liquid china eraser4 ,gold can be applied very evenly to the edges of round articles with the tip of the finger4 ,after silver has been fired1 gold can be applied and vice versa1 as one metal acts as a foundation for the other4 ,mix one part of silver with two parts of unfluxed gold and you have green gold4 ,for platinum effects mix liquid bright silver with ,roman gold4 ,nothing but unfluxed gold should be used with ,belleek ware4 ---------------------------------------- -------------------------------- ,illustration ,,gold ,,burnishing ,the appearance of ,roman gold when it comes from the kiln is ,matt or dull4 ,in order to bring out its natural brilliancy1 scouring or burnishing is necessary4 ,this can be done with a spun glass brush made for this purpose1 or it can be burnished with a special sand4 ,in case an article has to be refired1 be sure to remove all of the glass fibres as they would ruin the decorations4 ,the beauty of the unburnished gold will be destroyed by moisture from the fingers4 ,if sand is used1 moisten a soft cloth with water1 and after dipping it in sand1 rub the gold gently4 ,after the gold is polished1 the china can be washed4 ,the china is underfired if the gold comes off in burnishing4 ,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 second4 ---------------------------------------- -------------------------------- ,illustration ,,lustres ,cleanliness is one of the first requisites for success in using lustres4 ,the brushes should be cleansed with ,gold-,essence or ,alcohol from all traces of one color before using another1 and should not be allowed to dry containing any color4 ,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 vial4 ,the vial should be corked at once when not in use as the liquid evaporates rapidly2 this will also guard against dust and upsetting4 ,a soft camel's-hair brush1 that can be dipped into the vial1 will be needed2 also a wad of cotton enclosed in a piece of silk to form a pad as for ordinary tinting4 ,use great care in handling pieces tinted with lustre colors4 ,clean the china thoroughly1 using alcohol1 being careful to leave no finger marks on the piece4 ,dust in the brush1 in the kiln or on the china will make blemishes4 ,see that the work is not exposed to any dampness4 ,after the work is completed handle as little as possible and if necessary to be wrapped1 use tissue paper1 not cotton4 ,it is best to apply the lustre in the last firings4 ,an even tint is obtained by several applications1 but always fire for each application of the lustre4 ,a second coat on an unfired coat of lustre will produce a blotchy effect4 ,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 tint4 ,a generous application of ,mother of ,pearl lustre will also remedy the defect4 ,if lustre should fire too light1 apply another wash of the same color and refire4 ,lustres dry quickly and therefore should be padded without delay4 ,always have the dabber ready so that there will be no time lost after the color is applied4 ,a good plan would be to apply lustre over a part of the surface and quickly pad it smoothly1 then apply the lustre over the balance and finish by padding4 ,to retard drying1 mix a very little oil of lavender with the lustre1 on the palette4 ,this will also assist in padding the lustre more successfully4 ,it is difficult to apply lustre smoothly with a brush inside of cups and small bowls4 ,to obviate this pour a small quantity into the bowl and spread it with a silk dabber4 ,be sure that the lint has been singed from dabber4 ,firing of lustres require a great deal of care4 ,the piece should be placed in the kiln in such a way that no dust can fall on it4 ,be careful in drying lustres as the color will pulverize if the heat is too strong4 ,on lustre and gold decorations care must be exercised in burnishing the gold so as not to rub the lustre1 as it is very easily scratched4 ,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 tint4 ,fired tints and lustres can be removed with hydrofluoric acid4 ,lustres should have a medium fire4 ,deep color effects are obtained by repeated applications and firings4 ,if lustre color is to be applied over gold1 see that the gold is burnished4 ,it is not advisable to apply painting colors over lustres as the combination is not a success4 ,lustres applied over fired ,matt colors will produce a rich metallic effect which harmonizes beautifully with gold and paste work4 ,a variety of metallic effects can also be obtained by applying a greenish bronze tone4 ,ruby will produce a strong dark metallic effect1 and orange over gold produces a bluish purple bronze tone4 ,lustres applied over liquid bright gold will be very brilliant1 but richer effects are obtained over ,roman gold4 ,silver lustres over light fire tints will have a frosted appearance1 which is very effective combined with turquoise enamels and gold and paste work4 ,a deep1 rich maroon effect can be procured by painting two coats of purple lustre over liquid bright silver4 ,orange lustre over ruby will produce a strong scarlet color4 ,orange over blue1 dark green or olive1 will produce greenish tints4 ,over iridescent rose1 a good bronze tone is obtained4 ,over gold1 it will produce a purplish bronze effect4 ,yellow is generally used for mixtures with blues1 greens and grays to produce lighter tones4 ,it is a light color and is mostly used for this purpose and for backgrounds4 ,for a strong yellow effect give several applications and firings4 ,a single application of light green is a greenish gray4 ,a more intense effect results from several applications4 ,light green lustre is very popular as a tint used in connection with gold4 ,that is1 it is applied after the gold is fired4 ,rose over liquid bright gold produces a strong metallic effect4 ,if pink or rose is overfired it will have a purplish tone4 ,a soft pearl effect is obtained from a light wash of yellow or light green over fired rose4 ,a background of rose is most effective for paste and gold work4 ,blending of blue1 pink and gray are found in iridescent rose which can be used with very satisfactory results for a background1 and inside of cups and bowls4 ,padding is not necessary as the more irregular the tint is applied the more striking will be the effect4 ,copper1 dark green1 steel blue and purple must be well protected from dust and humidity1 or they will become spotted in firing4 ,opal and ,mother of ,pearl will not always fire successfully4 ,they are not1 however1 wholly unreliable1 but have a tendency to fire off4 ,yellow pearl is one of the very beautiful iridescent colors1 with a variety of light and deep tones4 ,two fired applications of ruby purple will make a very deep tone4 ,it is very effective when used with paste and gold work4 ,a fine iridescent1 deep green background for gold1 is obtained by firing light green over ruby4 ,steel blue1 as a rule1 is a very pleasing transparent color1 but it will sometimes fire iridescent dark greenish gray4 ,it combines well with silver and black for conventional designs4 ,a wash of yellow over steel blue will give an oxidized silver effect4 ,copper is used successfully over gold lustre4 ,very pleasing combinations of colors are produced by applying enamels over unfired lustres4 ,they assume a pinkish cast in firing4 ,copper decorations on lustres are more satisfactory if the lustre is fired4 ,it can1 however1 be applied over unfired lustre if it is perfectly dry4 ,lustre applied over ,india ink will fire off4 ,very pleasant and delicate effects are obtained by outlining with gold and pen over lustres4 ---------------------------------------- -------------------------------- ,,matt ,,colors ,matt colors are opaque and are usually used for backgrounds1 in which case they are usually applied by the dusting process1 although they may be used exactly as china colors are4 ,after being fired the surface assumes a velvety effect and looks like unscoured gold4 ,sometimes they are used with ordinary colors4 ,they can be mixed with them but when used in this way they are inclined to lose some of the natural dullness4 ,these colors will stand an unusual amount of firing without fading4 ,matt colors can be mixed with white and used the same as oil colors4 ,if a fine bronze effect is desired1 it may be had by stippling gold over fired ,matt colors4 ,it frequently happens that after these colors have been fired1 they will rub off1 especially1 if they have been laid on too thick4 ,in this case make a mixture of a small amount of vitrifiable china tint and the ,matt color1 making a light wash1 and this will fasten the ground4 ,this wash may be blown or stippled on4 ,it may be applied with a shader if the colors are not too soft4 ,paste and gold may be applied over fired ,matt colors4 ,roman or unfluxed gold may be used over paste1 but unfluxed gold must be used if applied directly on the color4 ,as these colors are opaque no design will show through when fired4 ,consequently if any design is to be applied to these colors1 it must be cut out4 7,see cutting out47 ,vitrified china colors are used over fired ,matt tints--and silver can be used over ,matt colors4 ,these colors cannot be used successfully on such articles as table ware1 as they will not stand a great amount of washing4 ,they retain grease1 etc41 and would soon lose their beauty4 ,matt colors are made by adding a certain amount of oxide of zinc to china colors4 ,a little experimenting will tell the decorator what proportions to use4 ,grind these well together with turpentine--and dry before using4 ,different makes require different proportions4 ---------------------------------------- -------------------------------- ,illustration ,,banding ,a steady hand and practice are necessary to acquire good results in banding and lining4 ,the best results are obtained with the 8,star0 ,banding ,wheel4 ,operation of the wheel is very simple4 ,three centering buttons move together automatically1 bringing the article to the exact center and holding it in an unmovable position4 ,these are adjustable and can be raised to hold in position bowls1 vases1 etc4 ,a large amount of valuable time is saved by using the 8,star0 ,banding ,wheel4 ,it is easily manipulated by the most inexperienced and is practically indestructible4 ,do not move the brush around the china4 ,by resting your arm on a support you can turn the banding wheel slowly and keep the brush in a steady position1 and touch the china lightly4 ,a good brush is necessary to make a band1 but a thin one is used to make a small line4 ,the colors must be kept in a half liquid state4 ,in this state they flow easily and an even line is the result4 ,the brush should pass over the same line several times4 ,bands are made with grounding oil so they may be dusted with powder--the same as in the ground-laying process4 ,this is preferable to using wet colors for a broad band4 ,with this process the band is even and glazy4 ,a cut liner is used for lines and edges4 ,this brush is best for this work as it carries the large quantities necessary for a long line4 ,perfect lines must be made with one stroke--as several short strokes are sure to appear blotchy4 ,when lines are made of gold or silver1 the metal used should be more liquid than when used in painting4 ,a compass1 with a ruling pen1 can be used for making lines4 ,china color made liquid with diluting medium is used4 ,lines may be drawn around the edges of bowls1 plates1 saucers1 etc4 ,illustration ---------------------------------------- -------------------------------- ,,oxidizing ,,of ,,colors ,different metals are used as a basis in producing various colors4 ,iron is the basis for flesh tints1 reds and browns4 ,less iron 7in proportion7 is used for yellow and green4 ,gold and tin are used as the basis for pinks1 roses1 carmines1 blues1 purples and violets4 ,in mixing colors of iron basis with those of gold and tin basis the lustre and brilliancy is sometimes impaired4 ,experience will show that purple 7which has gold or tin as basis7 mixed with black or brown 7iron basis7 sometimes loses its glaze1 on the other hand the same purple will1 as a rule1 keep its glaze if mixed with dark green1 owing to the fact that greens have a smaller per cent of iron4 ,the combining of the two basic metals causes the oxidization1 and this difficulty is hard to remedy4 ,a scroll of gold or silver is quite a help in this dilemma1 they being opaque1 defects are easily covered4 ,satisfactory tints can be procured by mixing colors of iron basis as one class and those of gold and tin basis as another4 ,a piece of china will sometimes come from the kiln with a perfect glaze1 but soon loses its lustre and becomes ,matt4 ,this may be due to the fact that the color is too heavy and not fired long enough4 ,the china being porous absorbs the natural moisture in the air and appears to be oxidized4 ,this can be removed with soap and water4 ,refiring will prevent a recurrence of this condition4 ,special care should be taken with such colors as purples and browns1 that too much oil is not used in mixing4 ,it has a tendency to produce a dull1 undesirable appearance4 ,keep the colors as dry as possible4 ---------------------------------------- -------------------------------- ,,glazing ,,of ,,underfired ,,colors ,even though every precaution known to the art has been observed1 the artist will be puzzled in taking from the kiln pieces that have been fired in a way anything but satisfactory or as he expected4 ,it is frequently the case that his best pieces are underfired4 ,knowing the danger of over firing1 he is liable to make this mistake4 ,should this happen1 it is not well to refire china without going over the work with a thin coat of color4 ,this should be fired at the same heat as would be used in the ordinary glaze4 ,in case you do not need to go over the whole decoration1 the fired colors could be covered lightly with a coat of enamel oil1 or mixing oil and turpentine4 ,let this coat dry1 padding it well1 after which dust it with white flux or ivory glaze4 ,the desired glaze will be produced by the powder adhering to the oil4 ,fire again with ordinary heat4 ,a glaze cannot be produced on underfired china by using a coat of lustre1 but instead it will be found that this china will absorb the glazy substance of the lustre4 ,this has a tendency to change the colors and produces a frosted effect4 ,sometimes white lustre will retain its glaze over a lightly fired tint1 but we suggest that the decoration be retouched after the colors are very dry1 and powder it with ivory glaze4 ,pure glazes or fluxes mixed with oil should never be applied over the unglazed decoration--as it will invariably destroy the colors4 ,a rough surface can be improved by rubbing it gently with very fine emery paper4 ,you will find that a good oil for glazing is made by the turpentine in the cup1 that you use for washing brushes4 ,the glazy qualities are produced by the fluxes of the colors4 ,great care should be taken to see that this oil is clean4 ,after giving the underfired decoration a light wash1 pat well4 ,fire in the usual way after it is thoroughly dry1 and a very satisfactory glaze will be obtained4 ---------------------------------------- -------------------------------- ,,chipping ,,of ,,colors ,there are many reasons for colors chipping1 but it is probably due more frequently to the careless application of color than to any other cause4 ,sometimes1 and in fact quite frequently1 it is due to imperfections in the china4 ,a frequent imperfection is that the glaze is very thin and in firing the colors cannot adhere to it4 ,less trouble1 however1 is experienced with the light colors1 such as yellows1 grays1 blues1 reds and light greens4 ,while in the darker colors1 the browns1 dark greens1 purples1 etc41 it is found that they are more liable to chip off4 ,then too very hard china gives more trouble than a softer ware1 such as ,english or ,belleek4 ,artists frequently think that thick colors will produce heavier tints4 ,this is not so4 ,the mistake is a bad one4 ,the colors will not only chip off very soon1 but will lose their brilliancy4 ,the only sure way to meet with satisfactory results is to apply the color very evenly1 avoiding lumpy strokes4 ,if colors are well mixed and perfectly smooth and free from grit1 there is very little danger of chipping4 ,the most objectionable feature in china painting1 and we might say hopeless one1 is chipping1 as there is really no good way to remedy it4 ,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 same4 ,the great danger in refiring is that some other part of the decoration may be marred in the same way4 ,whenever the chipping occurs in a place that can be covered with enamel or paste and gold1 it is best to remedy it in this way4 ,one way to remedy it1 and to avoid the necessity of an extra firing1 is to mix the powdered color with copal varnish and apply it thickly over the chipped places4 ,this looks fairly well and will remain brilliant for some time4 ,another difficulty that may be experienced is blistering4 ,the cause of this is bad oil4 ,in this case the color will not chip off1 but it will shrink4 ,this condition is hard to remedy but a small amount of oil of cloves added to the mixing medium will prevent it4 ,in decalcomania or transfer work1 blistering happens very frequently4 ,this happens because the transfers have not been washed sufficiently1 and thoroughly dried before applying4 ,this may be prevented if a wash of oil of cloves is used1 over the dry transfer1 dabbing it on with a slightly moistened pad4 ,it is absolutely necessary that the transfers should be free from any trace of moisture4 ,illustration ---------------------------------------- -------------------------------- ,illustration ,,enamel ,,work ,one of the most essential features in this work is to have the enamel of the right consistency4 ,there are many good enamels in the market but we have found that ,aufsetzweiss in tube or powder form1 makes a very satisfactory white enamel4 ,dilute most enamels with turpentine to a semi-fluid state4 ,before applying1 breathe on the mixture until it is reduced to the proper consistency1 which means that it should be in such shape that it can be applied in a long1 free stroke4 ,at the same time it should be thick enough to lie high and round on the china4 ,the beauty of the decoration depends on this feature4 ,considerable of experimenting on the part of the student will be necessary in order to perfect himself in this work4 ,enamel in powder form must be thoroughly mixed with the turpentine1 after which a little fat oil should be added4 ,very poor work is sure to be the result if enamel is either too thick or too thin4 ,if too thin it will be flat and if too thick it will chip off4 ,it is about the right consistency1 if it will remain in shape when a little is piled up4 ,when applying enamel1 do not allow the brush to touch the china4 ,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 strokes4 ,for enamelling1 use a sable brush4 ,take up a sufficient quantity of the mixture so that some will hang to the brush4 ,the student should aim to make high1 round lines and dots4 ,sometimes the dots appear pointed1 but after the work is fired1 they will be round4 ,when working with enamel1 it is inclined to harden4 ,in case it does1 add a drop of turpentine1 breathe upon it and it is ready to use again4 ,sometimes enamel will chip in firing4 ,in this case scrape it off and apply again4 ,enamel that is too oily will chip--so it should be dried with a piece of silk4 ,there are other causes for enamel chipping4 ,too many firings and insufficient mixing will cause it4 ,enamel should not be fired more than twice4 ,do not use it unless freshly mixed4 ,there is little danger of these colors chipping off of ,belleek or any soft glazes4 ,enamels are not likely to chip1 if it is allowed to dry well before firing1 provided that all the suggestions in this chapter have been observed4 ,a good tinted enamel can be produced by adding one-fifth part of the color to four-fifths of white enamel and mixed very thoroughly4 ,these colors dry darker than when applied--so they should be mixed accordingly4 ,blue1 green1 pink and ruby produce good colors--but reds and browns do not4 ,another method is to tint white enamels by washing lightly with color4 ,white enamels can also be applied over unfired colors or fired gold4 ,if used over unfired lustre colors it will turn reddish4 ,white enamel fires very well though1 over fired lustres4 ,flat enamels are produced in a slightly different way from the raised enamels4 ,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 flux4 ,this is then diluted with oil of lavender4 ,use sufficient to reduce it to a fluid state--and mix well1 a square brush is the best for this work4 ,let the enamel flatten itself naturally4 ,after this is fired the ground appears higher4 ,one firing is all that is needed for flat enamels4 ,when several flat enamels are to be applied to one article1 the greatest of care should be taken to see that one color does not run over the other4 ,they should be separated by heavy lines--and each one dried4 ,peach blossom or ruby are used for pink enamel4 ,albert yellow for yellow1 peacock or ,russian green for green and blue green1 or turquoise blue for blue4 ,some colors that cannot be produced are bought prepared ready for use4 ,enamels should not be fired heavily4 ,add one-sixth of china cement to enamels and you have an excellent filling for cracks and nicks in china4 ,glass enamels give better satisfaction when mixed with water rather than oil4 ,mixed in this way1 the danger of chipping is reduced to a minimum4 ,these enamels are made by mixing ,matt colors with white enamel4 ,handled in this way the enamels seldom bubble4 ,illustration ---------------------------------------- -------------------------------- ,,china ,,repairing ,to repair a piece of china that has been cracked through and through1 use 8cement to be fired10 mixed with water1 until nearly liquid4 ,apply it to the crack repeatedly1 so as to let the china absorb as much of it as possible2 then wipe away all the surplus1 and fire4 ,this cement contains quite a good deal of flux1 and will affect any color covered with it4 ,it will always prove satisfactory when applied nowhere except just inside of the cracks4 ,if the article to be repaired is broken into many pieces1 tie them together with asbestos cord before applying the cement to be fired1 and fire with the asbestos4 ,asbestos will not leave a mark on hard china1 and only a slight one on ,belleek ware2 but even this can be prevented by firing very lightly1 and the cement will be quite as effective4 ,it must be remembered that this cement has no body and will do nothing toward filling in a space2 it melts completely and holds the pieces together4 ,if the crack is wide1 apply the cement first1 as explained before2 let it dry1 and then fill in the crack with enamel mixed with either oil or water4 ,to imitate the color of the decoration through which the crack comes1 add a bit of the desired color to the enamel1 being careful to remember that tinted enamels are rather darker after firing than before4 ,fill in a nick with enamel mixed with one-tenth of flux4 ,after this is fired1 it may be covered with paste and gold1 and the fault will be completely obliterated4 ,by mixing one part of flux to nine parts of very finely grated china1 a good filling will be produced for large cracks1 or for places from which small pieces of china are missing4 ,it must be very carefully applied1 and dried before firing4 ,paste and gold work will cover up cracks very nicely4 ,unless the china is actually apart1 the cement need be applied to only one side4 ,for a cracked vase1 apply the cement by letting it run along the inside of it only1 but on a platter1 apply it on the outside1 or1 if desired1 on both sides4 ,black spots and pin holes can be filled in with enamel4 ,china can also be repaired by using a cold cement1 which should not be fired4 ,apply the cement with a stick1 on the edges of both pieces1 and put them together very carefully4 ,set the china aside1 so that it will remain undisturbed until dry4 ,if there are many pieces1 join two or three1 and let them dry1 and gradually add on the others until the article is complete4 ,allow two days for an ordinary good drying1 without artificial means1 before handling4 ,a strong cold cement is made by mixing two parts of cheese to one part of powdered lime1 adding water until the mixture is of a semi-liquid consistency4 ,mix and grind it with a knife until it has become tacky4 ,apply this to the edge of the china1 and join the pieces carefully1 allowing one day for it to dry4 ,many large crockery houses use this cement exclusively1 and find it very satisfactory4 ,illustration ---------------------------------------- -------------------------------- ,illustration ,,firing ,,china ,if the kiln is raised upon a box or platform from #aj to #bj inches high1 it is more convenient to stack1 and also to regulate the burner4 ,have the box covered with a piece of zinc or sheet iron4 ,connect with the chimney in the most direct way1 using #g in4 pipe which must not taper4 ,if the chimney hole should be smaller1 have it enlarged to this size4 ,set the brackets in the support upon the side of the kiln4 ,fill the can with kerosene oil and place upon the bracket adjusting the funnel so that the oil will drop into it4 ,place a small piece of asbestos fibre as large as a thimble in the iron tray in the bottom of the burner1 and keep the slide in the burner well open4 ,kilns are shipped with the clay in a green state in order to insure safe transportation1 and must be fired in order to dry out any moisture before firing china4 ,turn on the oil in a fast drop and apply a lighted match or taper to the asbestos fibre1 which has become saturated with oil and will light4 ,allow the oil to flow in a broken stream for about #ae minutes4 ,by this time the burner has become hot and will consume more oil4 ,at first1 the bottom of the pan need not be more than one-half covered1 always exercising care not to feed it too fast in the beginning4 ,as the kiln becomes hotter1 the oil may be increased gradually and a red glow will be seen through the mica window in the door4 ,this will gradually increase until the whole interior is red1 also the flames may be seen through the mica window at the top4 ,from this time the oil may be turned on as fast as the burner will consume it without overflowing4 ,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 necessary1 and until it shows a good red throughout the inside1 and hotter than for firing ,china4 ,the ,china may be stacked in any manner which is convenient4 ,trays and plates may be placed on edge with small stilts between1 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 next4 ,if plates are piled one above the other1 it is always safer to have medium sized stilts between them4 ,in case of a large ,jardiniere1 ,vase1 or ,punch ,bowl1 place a large stilt beneath4 ,it is frequently convenient to stack large pieces on the side1 in which case they may be raised a little in the same way4 ,stack the china so that it will not wedge at any place1 and so that ventilation of air may circulate about the pieces4 ,cups and saucers and small articles may be stacked in any possible position separated by small stilts4 ,if you wish to use the shelves place the supports in the kiln so that they rest securely1 and place the shelves upon them4 ,very few firers make use of them after they have become accustomed to stacking without4 ,it is not necessary to heat the kiln each time before firing1 as moisture is not expelled from fire-brick into the oven as it is from an iron firepot4 ,allow the oil to flow in a small or broken stream for about #ae minutes1 and then increase a little4 ,the main point is to feed the oil very slowly at first until the burner has become hot1 when it may be increased gradually4 ,the first red will show in about #dj minutes4 ,from this time on1 the oil may be increased as fast as the burner will consume it without overflowing4 ,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 it4 ,this is the point to turn off the oil1 and stop the fire4 ,you can see whether the gold has changed color1 and whether the pieces are glazed1 especially any dusted tints4 ,if your colors come out dull1 and if your rose or carmines are brick color instead of a clear pink1 or if your gold rubs off1 you may know that you have not fired long enough4 ,if your pinks or carmines have turned purple1 you have overfired4 ,a few trials will enable you to know for yourself1 just the right length of time4 ,it takes from one hour and fifteen to an hour and thirty to forty-five minutes4 ,the time varies1 depending upon the draught and the way the oil has been fed4 ,the mistake is too often made1 of firing by time entirely1 instead of being guided by the appearance of the kiln4 ,after having fired several times1 one will have ascertained pretty nearly just how long their kiln takes to fire1 and this time is not apt to vary greatly4 ,yet on some days1 depending upon different conditions1 it may take a trifle longer or less time1 and so let your reason1 rather than the clock1 dictate the proper firing4 ,the hole under the door is intended for a peep hole1 to see the condition of the fire in the combustion chamber1 and should be left closed4 ,when the chimney draft is not good a carbon may form over the burner in this combustion chamber1 and by the use of a small poker through this hole it may be removed and taken out through the burner without stopping the firing4 ,if the kiln does not seem to respond properly1 and in a reasonable length of time1 you will1 doubtless1 find that there in insufficient draught in the chimney4 ,this is a most important consideration1 and if there is any cause1 such as a stove1 or fire-place connected with the same flue which cuts the draught1 it must be removed4 ,if attached to the same flue as a furnace or stove1 the latter must be entirely cut off when the fires are out in the summer4 ,sometimes it is necessary to have the chimney lengthened or pipe added to the top1 especially if there are tall buildings or trees nearby4 ,the chimney or additional pipe should not have a hood or covering of any kind4 ,in every case1 an imperfect draught is the only cause which prevents perfect success from the start4 ,when these conditions are right1 little or no carbon will be formed4 ,if an accumulation of carbon forms in the chamber above the burner1 it is because the draught is poor1 and must be increased4 ,by continuing to fire with a poor draught1 you run the risk of filling the tubes and choking the kiln1 which must then be cleared out before firing again1 even if the draught is remedied4 ,after firing a few times1 frequently after the first firing1 small heat checks or cracks will appear in the different tubes or linings of your kiln4 ,this occurs in all fire-brick kilns and has no serious significance4 ,with kerosene oil as a fuel1 no injurious gases are formed1 and no harm will come to the most delicate ware4 ,you may fire it with perfect safety1 even if the small cracks are not filled4 ,after a time as the cracks become larger1 and seem of some consequence1 they may be filled with a paste made of fire-clay and water4 ,do not merely plaster this paste over the outside1 but force it well into the cracks4 ,in this way the kiln will last indefinitely4 ,cracks are less liable to come if a little care is exercised not to cool the kiln too fast1 and not to open the door while it is hot4 ,about three or four hours should be allowed for cooling1 and in opening the door be careful not to subject the china to a sudden cool draught4 ,open the door only very gradually1 leaving a mere crack at first1 then a little larger space1 etc4 ,the sudden draught of cool air might cause the china to craze and crack4 ,a piece of soft glazed ware1 if taken from the kiln while still too warm1 is apt to show a crackled or crazed glaze1 and you will hear the little crackling sound produced by the sudden contraction of the glaze4 ,illustration ---------------------------------------- -------------------------------- ,hibbard ,powder ,china ,colors in ,vials ,illustration ,no ,better ,quality ,made ,,blacks ,best ,black #aj;c ,outlining ,black #aj;c ,,blues ,baby ,blue #aj;c ,banding ,blue #aj;c ,copenhagen ,blue #aj;c ,deep ,blue ,green #aj;c ,royal ,blue #ae;c ,turquoise ,blue #aj;c ,,browns ,auburn ,brown #aj;c ,brown ,green #aj;c ,chestnut ,brown #aj;c ,deep ,red ,brown #aj;c ,finishing ,brown #aj;c ,hair ,brown #aj;c ,meissen ,brown #aj;c ,yellow ,brown #aj;c ,,grays ,gray for ,flesh #ae;c ,pearl ,gray #aj;c ,royal ,copenhagen ,gray #aj;c ,,greens ,apple ,green #aj;c ,brown ,green #aj;c ,darkest ,green #aj;c ,deep ,blue ,green #aj;c ,empire ,green #aj;c ,gray ,green #aj;c ,moss ,green #aj;c ,myrtle ,green #aj;c ,olive ,green #aj;c ,peacock ,green #aj;c ,royal ,green #aj;c ,russian ,green #aj;c ,shading ,green #aj;c ,yellow ,green #aj;c ,,pinks ,american ,beauty #bd;c ,rose #ab;c ,peach ,blossom #ab;c ,standard ,pink #bj;c ,sweet ,pea ,pink #aj;c ,,purples ,,and ,,violets ,crimson ,purple1 best #cf;c ,dark ,violet #ab;c ,dp4 ,violet of ,gold #bh;c ,royal ,purple #bj;c ,ruby ,purple1 brilliant #cf;c ,violet #ae;c ,violet of ,iron #ae;c ,,reds ,blood ,red #ab;c ,carnation #aj;c ,deep ,red ,brown #aj;c ,pompadour #aj;c ,poppy ,red #aj;c ,yellow ,red #ab;c ,,whites ,relief ,white 7,aufsetzweiss7 #ab;c ,white ,enamel #ab;c ,,yellows ,albert ,yellow #aj;c ,egg ,yellow #aj;c ,imperial ,ivory #aj;c ,ivory ,glaze1 for dusting #aj;c ,ivory ,yellow #aj;c ,lemon ,yellow1 rich #aj;c ,oriental ,ivory #aj;c ,primrose ,yellow #aj;c ,trenton ,ivory #aj;c ,,flux ,flux #aj;c ,,paste ,,for ,,raised ,,gold ,vial #af;c ---------------------------------------- -------------------------------- ,hibbard ,lustre ,colors ,illustration ,lustre ,colors are very effective in conventional style decoration4 ,in connection with powder or regular painting colors1 part of the design may be ,lustre1 either flowers1 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 desired4 ,see chapter on use of ,lustres for complete color treatment and chapter on conventional style painting for uses to which lustres may be applied4 ,bottle ,bottle ,ounce ,copper #j4cj 4444 #c4jj ,dark ,green 4444 4#bc #a4jj ,gold ,lustre 4#cj 4444 #c4jj ,iridescent ,rose 4444 4#bd #a4jj ,light ,green 4444 4#ac 4#fj ,mother of ,pearl 4444 4#ac 4#fj ,mother of ,pearl1 bluish 4444 4#ac 4#fj ,mother of ,pearl1 greenish 4444 4#ac 4#fj ,opal 4444 4#ac 4#fj ,orange ,red 4444 4#aa 4#ej ,platinum 4#dh 4444 #d4ie ,ruby 4#dh 4444 #d4ej ,silver ,lustre 4#de 4444 #d4ie ,steel ,blue 4#bg 4444 #b4ej ,violet 4#bd 4444 #b4be ,yellow 4444 4#aa 4#ej ,yellow ,brown 4444 4#aa 4#ej ,essence for thinning 4444 4#jh 4#de ---------------------------------------- -------------------------------- ,hibbard ,medium ,,for ,,mixing1 ,,painting ,,and ,,tinting ,illustration ,hibbard ,medium is a combination of oils in proportions best suited for mixing smoothly colors in either powder or paste form4 ,gives the necessary time to blend tints and pad ground perfectly smooth4 ,for painting1 mix color and medium into a compact smooth mixture with palette knife4 ,can be used with any make of colors and oils4 ,it is not surpassed by any preparation on the market1 but is priced way below other makes4 #a-ounce bottle #j4ab #af-ounce bottle 7pint7 #a4ce ---------------------------------------- -------------------------------- ,hibbard ,gold ,manufactured by ,,thayer ,,chandler ,illustration3 ,jar ,no4 #f ,hibbard gold gives you the best value you have ever seen in gold for china painting4 ,other golds on the market are made by a manufacturer who sells to a jobber2 the jobber sells to the retail merchant and from the retail merchant it reaches the painter4 ,don't pay retail price for gold4 ,remember1 in buying gold from us1 it comes direct from the producer4 ,we are in a position to give you more for your money than any dealer4 ,hibbard gold is put up in boxes and air tight screw top porcelain jars made especially for this purpose4 ,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 dust4 ,gold in jar is so well protected from dust and air that there is practically no waste or deterioration2 it will keep indefinitely4 ,jar ,no4 #a4 ,roman or ,unfluxed #j4ee ,jar ,no4 #c4 ,equal to three boxes #a4ej ,jar ,no4 #f4 ,equal to six boxes #b4ij ,,in ,,box ,,on ,,glass ,,slab ,per box1 ,roman or ,unfluxed #j4ee #f boxes1 ,roman or ,unfluxed #c4bj #ab boxes1 ,roman or ,unfluxed #f4ce ---------------------------------------- -------------------------------- ,hibbard ,new ,china ,painting ,outfit ,hibbard outfits have improved the standard of china painting sets very materially and have new features which make these the best outfit values ever offered4 ,new ,process ,outline ,designs are strictly up-to-date and not found in other outfits4 ,selection of colors and material was made by professional china painter4 ,useless and out-of-date colors1 etc41 have no place in ,hibbard outfits4 ,illustration ,,hibbard ,,outfit ,no4 #b ,polished wood box1 #i #f inches1 containing list of material as enumerated below3 #a ,vial ,yellow ,brown #a ,vial ,auburn ,brown #a ,vial ,yellow ,green #a ,vial ,peacock ,green #a ,vial ,best ,black #a ,vial ,banding ,blue #a ,vial ,albert ,yellow #a ,vial ,poppy ,red #a ,vial ,rose #a ,vial ,violet #a ,vial ,lemon ,yellow #a ,vial ,pompadour #a ,steel ,palette ,knife #a ,tinting ,brush1 ,no4 #aj #a ,square ,shader1 ,no4 #f #a ,square ,shader1 ,no4 #c #a ,pointed ,shader1 ,no4 #b #a ,fine ,outliner1 ,no4 #b #a ,bottle ,mixing ,medium #a ,bottle ,turpentine #a ,bottle ,outlining ,ink #a ,mixing ,palette1 in tin holder #e ,brush ,handles #a ,sheet ,tracing ,paper #a ,sheet ,graphite ,paper #a ,plate ,divider #a ,instruction ,book #ab new ,process ,outline ,designs ,outfit ,no4 #b1 net wholesale price #b4ih ,illustration ,,hibbard ,,outfit ,no4 #c ,polished wood box1 #ab #i inches1 containing following large assortment of high-grade material3 #a ,vial ,best ,black #a ,vial ,banding ,blue #a ,vial ,copenhagen ,blue #a ,vial ,yellow ,brown #a ,vial ,auburn ,brown #a ,vial ,yellow ,green #a ,vial ,apple ,green #a ,vial ,deep ,blue ,green #a ,vial ,brown ,green #a ,vial ,poppy ,red #a ,vial ,rose #a ,vial ,ruby ,purple #a ,vial ,blood ,red #a ,vial ,albert ,yellow #a ,vial ,lemon ,yellow #a ,vial ,imperial ,ivory #a ,vial ,violet #a ,vial ,oriental ,ivory #a each square shaders1 ,nos4 #b1 #d1 #f1 #h #a each pointed shaders1 ,nos4 #c1 #e1 #g #a each long pointed shaders1 ,nos4 #b1 #d1 #f1 #h #ab ,brush ,handles #a ,tinting ,brush #a ,steel ,palette ,knife #a ,sketching ,pencil #a ,covered ,china ,palette #a ,mixing ,palette1 ,japanned tin #a ,bottle ,mixing ,medium #a ,bottle ,turpentine #a ,bottle ,outlining ,ink #a ,sheet ,tracing ,paper #a ,sheet ,graphite ,paper #a ,box of ,hibbard's ,roman ,gold #a ,plate ,divider #a ,instruction ,book #ah ,new ,process ,outline ,designs ,outfit ,no4 #c1 net wholesale price #f4gj ---------------------------------------- -------------------------------- ,transcriber's note3 ,underscores have been used to denote italic passages2 equals signs represent bold text4 ,page #e1 #8green' changed to #8greens1' 8with greens and blues0 ,page #f1 #8turqoise' changed to #8turquoise1' 8by mixing turquoise blue0 ,page #f1 ,conventional ,style ,painting illustration moved to page #g ,page #i1 comma inserted after #8,yellow1' 8,albert ,yellow1 and ,sea ,green0 ,page #aj1 comma added after #8,berries1' 8,berries1 ,silver ,lustre centres0 ,page #ah1 #8,currents' changed to #8,currants1' 8,currants of a lighter red0 ,page #ba1 #8flesh-shadow' changed to #8flesh shadow1' 8touched up with flesh shadow20 ,pages #ba and #bb1 all instances of #8soft-flesh-tint' changed to #8flesh-soft-tint' ,page #bd1 #8ground laying' changed to #8ground-laying1' 8the art of ground-laying40 ,page #be1 #8decorater' changed to #8decorator1' 8,here the decorator is cautioned0 ,page #be1 comma inserted after #8medium1' 8medium1 heavy or light ground0 ,page #bh1 #8drys' changed to #8dries1' 8if the color dries0 ,page #ca1 #8,then' changed to #8,when1' 8,when tinting with0 ,page #cb1 #8and' changed to #8any1' 8any diluting medium can be used0 ,page #cb1 #8of' inserted1 8oil of lavender0 ,page #cd1 #8a' inserted1 8end of a brush handle0 ,page #cd1 #8is' changed to #8are1' 8two applications of silver are necessary0 ,page #cf1 #8gold' inserted1 8,if liquid bright gold is used0 ,page #ch1 #8no' changed to #8not1' 8use tissue paper1 not cotton40 ,page #ci1 #8hydrofloric' changed to #8hydrofluoric1' 8removed with hydrofluoric acid40 ,page #dc1 #8star banding wheel' changed to #8the 8,star0 ,banding ,wheel1' 8with the 8,star0 ,banding ,wheel0 ,page #dc1 #8,the operation of' changed to #8,operation of the1' 8,operation of the wheel is very simple40 ,page #dc1 #8the' inserted1 8by using the 8,star0 ,banding ,wheel40 ,page #dd1 #8botchy' changed to #8blotchy1' 8are sure to appear blotchy40 ,page #de1 comma inserted after #8roses1' 8pinks1 roses1 carmines1 blues10 ,page #de1 #8matt' changed to #8,matt1' 8loses its lustre and becomes ,matt40 ,page #ea1 #8that' inserted after #8colors1' 8colors that cannot be produced are bought0 ,page #ea1 #8getter' changed to #8better1' 8enamels give better satisfaction0 ,page #ea1 #8,beleek' changed to #8,belleek1' 8a slight one on ,belleek ware0 ,page #fd1 full stop inserted after #8,nos1' 8#a each square shaders1 ,nos4 #b1 #d10