SEVENTH EDITION. '<$) "Hew T0 j^PPLY KOI ^E„ W Ci b CHI/NCI A Practical Elementary Hand-Book for Amateurs, Coritair[ir|g Reliable Methods for Gilding, Mixir\g of Color.", Grour\d-Layiqg, Relief-Paste, Firing, Etc. 1891. Published by the Osgood Art School, DOMESTIC BUILDING Cor. Broadway and 14th street, NEW YORK. COPYRIGHT, 1891, BY A. H. OSGOOD, NEW YORK. {All rights reserved.) PRESS OF STYLES A CASH, NEW YORK. (Contents. HACK Apple Blossoms and Bird, 61 Acid — Hydrofluoric, . 17 Backgrounds, . . . 73-75 Brushes, 12, 13 Birds and Branches, 50, 51 Birds and Blossoms, . 60 Birds, Treatment of, . 130 BonDonniere, with Dres- den and La Croix Col- ors, 161 Blue-Tailed Sylph Hum- ming Bird, . . . .134 Butterflies, . . . . .139 Burnishers, 87 Chrysanthemums, . . 45 Cactus, 59 California Morning Glorys, . . . . . 61 Clematis, .... 62, 63 Canvas-Back Duck, . . 144 Chickens, 151 Crimson Topaz Hum- ming Bird, .... 135 China Firing, Prelimi- nary to, .... 19-22 Crab, . . . . . . .128 Clovers, 33 Directions for Mixing Colors, .... 37-40 Directions for Laying Grounds, . . . 76-79 PAGR Directions for Using Tar Paste, 80 Directions for Mixing Relief Paste, . . . 8 J Directions for Using the Osgood Art School Gold, 85 Decoration for Egg Dishes, 151 Dresden and La Croix Colors for Figure Painting, 154 Drapery, 157 Deer, 150 Eyes, 157 English Pheasant, . . 146 Enamels, 84 Flowers and Birds, . 41-66 Fish, 92-129 Fish Painting, Materials and Colors required for, 95 Flesh Tints, . . . .155 Flux, 15 Garden Anemone, . 56-57 Glass vStaining, . 167-175 Game, 140 Hair, 156 Humming Birds and Swallows, . . . .134 Hemp Birds, . . . .132 ©entente. — t ^cntinued. PACK Hard or Unfluxed Gold, S9 Iris for Tray, . . . 55,56 Jewels, .... 84, 134 King Humming Bird, . 135 Kingfisher, 131 La Croix Colors, . . 23-36 Lotus Blossoms and Leaves for a Tray, 47, 48 Lotus Buds and Leaves for a Plate, . . . 48-50 Lobster, 128 Materials Necessary, . 6 Mediums for Painting and Tinting, . . 9-1 1 Method and Manipula- tion 158 Mexican Star Humming Bird, 136 Morning Glorys, ... 34 Matt Gold 81 Neutral Background, . 158 Orchid, 43 Oyster Shells, .... 129 Owls, 132 Passion Flower, ... 67 Pansies, 54 Periwinkle, . . . . 44, 45 Peonies, Conventional- ized, 52, 53 Primroses, 64 Poppies, 58 Purple Clematis, . . 51, 52 Partridge, 140 PACE Peacock, 131 Paraquets 130 Quail, 143 Rose Plate, with Dres- den and La Croix Col- ors. Illustration, . . 165 Rose Plate, Treatment of, 166 Rabbits, 147 Rofous Swallows, . .138 Suggestions, with Hints and Cautions, . . 14-18 Sauce-Boat, Treatment of, 127 Sauce-Boat, Tray for, . 124 Selection of China for Decorating, .... 7 Shadows for Flesh, . .156 Snipe, 142 Squirrels, 148 Staffordshire Potteries and Folk, . . . .179 Substances from which Glass and Porcelain Colors are obtained, . 173 Treatment for Fruit, 67-70 Treatment for Leaves, 71 , 72 Treatment of Flesh, Hair, Drapery, etc., . 155 Vervain Humming Bird, 137 Wild Duck, 145 Wild Turkey 147 White-breasted Swal- low, 138 |ntpoduetcp\j. I~ TAHE principal object of this practical hand- book will be to solve the difficulties attending the application of vitrifiable colors to china. There will occur many repetitions of ideas, which seemed unavoidable in the desire to make it as elementary as possible. Its methods are based upon the best practical experience, and devoid of all complications, making a clear and concise reference manual for amateurs, and a rapid guide for those who already possess some knowledge of ceramic decorations. The first, second and third editions, were confined principally to Royal Wor- cester, and, having met with general approval and liberal patronage, we are encouraged to enlarge the present edition, by adding illustrations and several new chapters treating upon figures and flowers, after the Dresden methods. Also treatment with La Croix colors is given for fish, fruit and flowers, besides full and explicit directions for ground lay- ing, gilding, mixing of colors, firing, etc., thereby uniting theory with practice throughout its pages. Amateurs are greatly encouraged to further ex- cellence when they find, with the aid of reliable information, they are able to secure good results ; and to those who are undertaking the task of self- tuition, this manual will be found invaluable. 6 [Materials P\ 20 to 25 colors. Ground-glass slab and muller, for mixing. 1 porcelain palette, size 7 x 4^ inches, with 21 recesses and cover. 1 erasing point. 1 ivory stylus, i alcohol lamp. 1 steel, and horn palette knife. 1 bottle of tinting and painting oil. 1 " tar oil for mixing relief paste. 1 " fat oil for colors and gold. t " tar paste, for stenciling designs pre- paratory for painting. 1 bottle of rectified spirits of turpentine. 6 imported French shaders, assorted. 3 " " tracers for outlining. 2 " " tracers, very small, for lay- ing relief paste and gold. 1 large No. 6 deer-foot stippler, for blending. 2 small stipplers, for gold. 2 grounding brushes, sizes ys and j4. 1 stick of India ink. 1 sheet adhesive paper, to secure tracings in place while transfering the design to china. Tracing and impression paper. Dabbers made of soft linen or silk, for blending backgrounds ; always have a full supply. A small piece of pumice stone, or emery cloth. No. 00, for removing roughness. dfhe -§eleetion of %\\\wa for ©eeomting, Particularly for figures, faces, etc. , should be free from indentations, black specks, scratches, fire cracks, and perfectly white, having a highly polished surface and selected with special care, while for general decorating, it is not necessary to be so exacting, having in view pretty and artistic shapes which are not confined to one manufac- turer alone. The Berlin porcelain has great resistance and requires a strong fire to " fuse " the colors. Its highly finished surface makes it desirable for figure painting. The French porcelain works kindly with all colors, and fires beautifully, and they certainly excel in designs as all importations show. The English ware has a soft glaze, rendering a high gloss to the colors in firing. Copeland (of Staffordshire) manufactured ware has a blue-white glaze. Minton's is rather gray in tone. 8 The Doulton pottery has a creamy, soft tint which is complimentary to all colors, particularly the pinks, and for gold. American productions are really so beautiful and unique in form for table service and art pieces, we shall soon be able to confine our selections entirely to home manufacture. The exquisite creamy glaze and delicate finish of the Trenton (New Jersey) Ware should compel a very careful treatment with color. It is a question whether you can improve it with background tints — would rather suggest raising designs solidly with relief paste, or outline decoration, to be com- pleted with different colored golds. It is a waste of time to decorate china which has been in use, as it frequently turns black in firing, and the spots cannot be removed. fop p> It is absolutely necessary that all mediums used with vitrifiable colors, should be of the very best quality ; it is misplaced economy to have them otherwise. If unreliable they either dry too rap- idly, and more often not at all, remaining oily and gathering dust, until the final test by fire develops blisters and gives to the painting a crackled effect, besides many other discouraging results. To guard against all possible difficulties of this kind, use the tinting and painting oil prepared by the Osgood Art School for amateurs, working equally well with Royal Worcester, (it does not glaze them,) Dresden, and La Croix colors. It combines in one preparation several oils of the finest quality, and restricted to such exact propor- tions, that it can always be depended upon as a thoroughly reliable medium in every respect. The proportion of tinting oil to colors for paint- ing is about two-thirds of color to one of oil, which must be mixed with the color first. After- wards add the turpentine ; if too much is used, the color will run. The right consistency is soft to paste or cream, which will flow smoothly from the brush. If the color is too thick, it will drag in working-, or, if too thinly diluted, it will not hide the glaze of the china. Tar oil, a very satisfactory medium for mixing- with relief paste. It should always be perfectly fresh. Mediums, after a time, become fat, and there is greater risk in using' them. If well corked, this can in a measure be avoided. Tar paste, a special medium prepared for re- moving color from back-grounds, leaving the design in white for painting. By its use you are able to secure a clear, sharp outline, and a release from the tiresome process of "scratching out." It is always ready for use. Rectified spirits of turpentine is more pleasant to work with, as the odors from inferior qualities are strong and disagreeable. Clove oil, a useful medium, especially in painting figures, fruit and fish, where the colors are stippled into soft blended effects. It keeps the colors open. Fat oil, required for mixing colors and gold. There is a general tendency with beginners to slight the fact that all mediums should be used sparingly. -It is almost incredible how small a quantity is actually required to prepare the colors for working smoothly, while an excessive use ends in repeated failures. Understand the difference between lean and fat 1 1 mediums, by testing - them with colors, using too much, and again, with the right proportion. The colors should present as little glaze (produced by oils) as possible, working them nearly dry — not too much so — never too moist. To succeed well be systematic, otherwise you will add color to thicken the oil or oil to thin the colors, and in case you have succeeded, this ex- perimenting will require repeating and you are never sure of obtaining the desired result. All details in china painting, no matter how small, are worthy of consideration. Keep a memorandum of your success and failures, to which you can refer in emergency with greater confidence, it being your own actual experience, with its trials, and the final success, which has secured to you the independance of working alone, untrameled by doubt. It is then china painting becomes a source of pleasure and a pleasant recreation. f!§> pushes. The number of brushes and sizes will depend upon the work in hand. Shaders, Nos. 4 to 8, will include all sizes for painting. There should al- ways be a liberal supply, as it is not advisable to stop painting in order to prepare brushes every time a different tint is required. The best arc the French imported pencils, man- ufactured expressly for china painting. You will know them by the indentation which surrounds the quill, near the top, an extra precaution to pre- vent the brush from spreading and shedding hairs, which often disfigures the work, particularly in figure painting. They are superior, have fine points, carry the color better, because they are elastic — this is im- portant with china colors, which presents more or less resistance in proportion to the colors used, consequently the brush should be of a quality to hold its own. An inferior brush will always slight the work and can never be depended upon. Accustom your- self to large size brushes, when it is practical. A little experience will soon convince you how easily 13 a broad, Hat, even tint can be obtained ; while with the same brush, nicely pointed on your palette, you are able to produce the finer touches. Place a handle in each one and hold the brush as far as possible from the point, to secure perfect freedom in working. You will gain much by making ex- periments and loose nothing — try it. Before putting brushes away, they must be care- fully cleaned with either turpentine or alcohol, thoroughly dried, then dipped in oil (which keeps them pliable), smoothed to a point and placed out of the dust, always allowing for the full length of the brushes without crowding them. With proper care, a good brush will last a long time. Important precaution. After cleaning brushes in turpentine alwaj^s dip them in the fat, or tinting oil, before using them with color. Stipplers should be thoroughly dried before applying them to color. The deer-foot stippler can be more easily cleaned by striking it against the table, to force the turpentine to the surface. If left in the brushes it will cause the color to spread. ^uggestiorieS, with p\inU and (^autions. The most uniform light can better be obtained from a window facing north. Place yourself in position so as to receive the light from the left, as you will find it less fatiguing to the eyes. The hardness of effect so often observed in china painting can frequently be attributed to the inju- dicious use of small brushes, and working in a room filled with bright sunlight. Always have in mind the effect- you are trying to produce when the article is completed. This will cause you to be more exacting and cautious with your painting. Success depends very much upon deciding what is required, and doing it to the best of your ability. The shadow tints are only intended to deepen the foundation color, without loosing it entirely, and should not be laid on too heavy, as they darken in firing. High lights. The white china is often substi- tuted, while it is preferable to apply a thin delicate wash of the local tint (this does not refer to white flowers) to keep the painting more uniform, and also hide the glaze of the china. 15 The mixing- of white with colors often produces a chalky effect after firing-, and is not recom- mended. For high lig-hts use Aufsetzweis' Relief, to be reserved for the last firing. This precaution will apply to all enamel and jewel work. Flux unites the colors with the glaze of the ware. If you can depend upon rose-color heat in firing, which bring-s carmines and gold to perfec- tion, then it is not necessary to flux colors, with only a few exceptions, unless the painting colors are required for backgrounds, upon French and German china, particularly La Croix carmine, Nos. i and 2, capucine red, carnation, deep red- brown, olive green, brown-green, apple green, and pearl gray. The proportion of flux necessary is one-fourth of any quantity and thoroughly mixed with the colors ; while, with the soft paste English ware, fluxing is not necessary. It lightens the colors, and, if not cautiously used, it will weaken and destroy their brilliancy. In case the colors come from the kiln dull and without a glaze, they can be restored by mixing- one part of flux very thoroughly with three parts of color, diluting with fresh turpentine ; then apply a thin delicate wash over the design (with corres- ponding tints), using care not to go beyond the limit of the painting, as the slightest variation will manifest itself upon the plain ware. If mcisture in the kiln has produced the baked, unglazed appearance to the colors, so detrimental 1 6 to a finished piece of work, it is useless to fire it again, for the glaze has departed for ever. The term Glazing implys the most fusible colors reduced to transparency with mediums or flux, and quickly applied over the tints to heighten their brilliancy in firing. The under-colors must be without any moisture before the glazing is attempted. Palette Knives should be about three and a-half inches long, highly tempered, and not too flexible. Horn knives are indispensable for mixing gold, white, relief paste, carmines, purples, violets and blues. Those with a knife edge soon warp and break easily ; neither will you select one that will not bend to the touch. Erasing Point. — A useful little instrument for removing particles of dust from the painting. Alcohol Lamp will expedite the process of dry- ing the colors. You are cautioned against holding the ware too long in one place ; keep it moving constantly and cool slowly to prevent cracking. However, you do not improve your colors by this rapid process, and, unless time is pressing, let your china dry by exposure to the atmosphere only. A mixture of alcohol and turpentine will destroy your colors. Keep them separated, each bottle corked. A small Rest, made of wood, 18 inches long, inches wide, supported at each end with blocks high enough to admit of a plaque underneath, will be found a useful addition to a " working out- 17 fit," particularly when the hand is unsteady while painting- or gilding. Pumice Stone removes roughness after firing. By first placing the stone in water, then with a circular motion gently grind the decoration until it feels smooth to the touch. You can easily abuse this process and destroy your painting, if every stage of the work is not carefully watched, and a sufficient quantity of water used to keep the stone from scratching. Select one having a fine even grain and a flat surface on one side at least. It should never come in contact with gold, or be used after the last firing. Hydrofluoric Acid is used in factories for re- moving color from china, and also to prepare it for raised designs (called etching on gold). Its fumes are so destructive to the glaze of the ware, it is necessary to dip the article into paraffine ; when cool expose only the decoration or part to be taken out. The acid comes in gutta-percha bottles. Its eating propensities compel this pre- caution. It is applied to the ware with small tapered sticks ; if the surface is large, wrap them with two layers of soft cotton cloth well secured. Allow the water to flow over it often during the process, to enable you to see how the work is pro- gressing. Keep the bottled corked, as its perni- cious fumes are poisonous ; and do not allow the acid to get upon your fingers, the pain will be extreme — wear gloves. While amateurs are ambitious to undertake everything pertaining to china painting, they i8 should leave this branch to professional decorators, and it will be more economical and satisfactory in the end, to correct errors by duplicating the china and redecorate it. The terms used to express the two degrees of heat required for over-glaze painting are : " Rose color," for gold, carmines and purple ; " Regular kiln," a cherry heat that glazes all other colors, if the kiln fires with an even temperature. preliminary to (§^hina f©iHng. Even with a thorough knowledge of every requisite necessary to make it a success, it is not a sufficient guarantee against occasional failures and many disappointments. You may be courageous with your brush and colors, attempting difficult subjects for decoration withal, when the ware is enclosed for the final test by fire, your anxiety begins, lasting until the china is drawn from the kiln, and every piece is carefully inspected. The convenience and cleanliness of gas kilns cannot be over-estimated : always ready and easily managed, the various sizes and prices mak- ing it possible for all amateurs to do their own firing, which will have a tendency to encourage many experiments, resulting in more rapid ad- vancement in the art. Many useful hints upon the subject, and the temperature required for the different colors, will oe fully treated upon in the following chap- ters, and should be considered thoroughly before attempting the responsibility of firing. 20 Colors and gold must be free from dust and perfectly dry before placing them in the kiln. If a brown discoloration appears, caused by drying in the oven or over an alcohol lamp, it will dis- appear in the firing. In your solicitude to have the decoration free from blemishes, do not forget to look at the back of your plate to discover, possibly, a paper label, the dealer's price-mark in ink, or spots of color, which should be removed and the surface left scrupulously clean before submitting it to the kiln. If a background has been applied, and a gold edge is required, the color can be expeditiously removed by placing a soft cloth — one thickness — over the right thumb, and forcing the nail upon the ware, turning the plate with the left hand ; if the color is moist, a clean, even edge will pre- sent itself with little difficulty. The same ma- nipulation can be applied to cups and all edges where a narrow line is desired. If the gold or colors have been wrapped in cotton, remove the lint by rolling instead of pick- ing it off, with the finger slightly moistened. Avoid placing anything in the kiln that will endanger the success of your firing, And, above all, dampness (where kilns are placed in poorly-ventilated cellars or basements) will prevent the colors from glazing, and nothing will escape its injurious effects. Stacking the kiln requires, not only judgment but considerable management, to have it full, yet 21 not over-crowded. Trays, plates, and large dishes should be fired in an upright position, with stilts between, to prevent touching, and not allowing the ware to rest against the iron pot, as it may produce discolorations resembling iron rust upon the surface. All plates under nine inches can be safely piled with three stilts between each. Saucers, small trays, etc., can be arranged in the same manner, placing the colors requiring the strongest fire at the bottom ; fill in the intervening spaces with small pieces, cups, vases, etc. If they are not edged with gold, place a small sauce-plate over them, and other pieces can be added with safety. If a large vase or jardinier covers the lower part of the kiln, you can economize the space by filling it with small cups, trays, etc., using plenty of stilts, to separate them. If the edge is flat, place a plate upon the top, upon which other articles can be piled. Pitchers can be filled with butter-plates ; a small bonbonnier can be fired within a larger one, and the covers placed on each. Every part of the kiln can be utilized in this way. A Wisp Broom vigorously applied to the sides of the firing-pot and cover will protect the ware from the small particles of dust which are liable to settle upon the colors during the process of firing. Never use a damp cloth for cleaning the kiln, particularly if you intend stacking and firing 22 immediately afterwards, as there is a risk of crack- ing the firing-pot, besides destroying the glazing qualities of your colors. A few reasons why breakages occur : heating and cooling the kiln too rapidly ; over-crowding the kiln ; not using enough stilts to keep the plates, etc., from slipping and pressing against other pieces of china, which will either crack or break them, Or by the closest calculation, a large dish or placque has been fitted into a small kiln, leaving no space for the expansion and contraction in firing; under these circumstances a breakage can generally be depended upon. Particles of sand that cannot be observed through the glaze of the ware, but are embedded in the "bisquit," will cause a plate to separate in many pieces. Firing large trays, ' etc. flat, instead of in an upright position, will cause disasters that can be guarded against. To ascertain the exact temperature and firing qualities of your kiln, apply carmine to several pieces of broken bits of china, and in stacking, place these tests in the different parts of the kiln. On examination of these pieces after firing, make a careful memorandum of the localities where the color has developed the most satisfac- tory, and you are ready for all future emergencies. A similar test for gold will render valuable information for firing this precious metal properly. f©a (§>oix (f^namcl ^cIcps AND THEIR COMBINATIONS Arc more or less effected by the iron in their composition, and to avoid mistakes, a classification of the colors will be given : First — Colors without iron. — Blues, white, and the gold colors, which are carmines, purples and violet. Second — Colors containing very little iron. — The greens and yellows (jonquil and mixing- yellows are the exceptions, as they contain no iron.) Third — Colors whose base are iron. — The flesh tints, browns, reds, violet of iron, yellow brown, ochre and black. While the iron colors harmonize with each other, they destroy the purity of the gold colors when mixed with them. A test tile or plate is very useful for reference, but should be reserved until you are able to com- bine colors with some degree of certainty, instead of having it an experiment only. There is so much to be considered in the early stages of china painting, it would be difficult as 24 well as impossible to understand it all at once. Progress slowly, is a sure guide to success in all branches of art. Set your palette with only the necessary colors, and when not in use cover it from the dust — an enemy to china painting. Study carefully the proportion of color to be applied to withstand the reducing effects of firing. Clear, dry weather is much better for painting and tinting, while dampness retards the work, making it almost im- possible to lay the colors smoothly. Some of the La Croix colors — particularly old blue — contain such a preponderance of oil, the color t seems to have been forgotten altogether. It is better, however, to persevere until the solid color appears upon the palette. While it would seem disastrous to add more oil, is should be mixed in the regular way. On opening the tubes, which seem pliable while the color appears encrusted upon the top, insert a pin to ascertain its exact condition before squeez- ing the tube out of shape, and causing it to open at the wrong end. But if the color has become hardened, cut the tube open, remove its contents to a tile ; add tinting, oil, and turpentine, and re-grind the color with the muller, then place it away from the dust. The very reasonable prices asked for tube colors should discourage the above tedious pro- cess, confining it to the more expensive colors only. 25 By turning- the tubes often, this result can in part, be obviated. Carefully observe all of these preliminary precautions as they will be of prac- tical use to you. The La Croix colors will now follow, and to " make assurance doubly sure " for amateurs, treatments — in addition to those already given with the Matt colors — will be adapted to flowers, showing how they can be practically applied, and as colors present the greatest obtacles to china painters, details, and even a repetition of them, may be deemed necessary to more clearly explain their possibilities. Dresden Aufsetzweis, in tubes or powder, is a more reliable mixing white than either of La Croix's Permanent or Chinese white, which are liable to chip off, and turn yellow in firing. It is used alone for touches on white flowers and dra- peries, and mixed with all light colors, to heighten their tones, in about the same proportion that white is used with oil colors. It will not take the place of enamel white for raised jewel effects, as it is opaque, and does not fire with a high trans- parent glaze. Do not use it in excess. Light Sky Blue, highly fluxed, — An excellent color for glazing grays to mix with other blues which are poor in flux, such as victoria, ultra- marine, and dark blue ; a soft color for back- grounds. Sky Blue. — A good mixing blue. Dark, Victoria, and Deep Blue are all used for flower painting in connection with ruby purple. 26 Different tints of lavender and purple are secured for pansies, wisteria, lilacs, etc., using more or less of each color in proportion to the tints required. Deep Ultramarine. — Flux one-fourth ; a delicate blue for blue bells, forget-me-nots, etc., shading with common blue, with a touch of ruby purple added. Old Blue, grounding color, requiring two layers and the same number of firings. Very effective for monochrome painting, afterwards to be treated with gold. The blues mix with purple, greens, browns, black and yellows, but not with reds. The lightest shade, sky blue ; medium, victoria, darkest, deep blue. They require a regular kiln fire and change very little. Browns are all soft colors. — They mix with all greens, black, purple, red and carmines, and not with yellows. Yellow Brown, an excellent color for softening greens to be used as a foundation tint for leaves, and, as it fires lighter than ochre, it is preferable for flower painting. Very thinly applied over lavenders and blues softens them, and will not turn green in firing. Brown No. 4, a deep, rich, reliable color ; glazes highly. Desirable for monochrome painting. A good mixing color with dark green No. 7, for leaves and stems, and for solid coloring on handles, etc. Sepia — poor in flux, add one-fourth to it. Used same as brown No. 4. 27 Deep Red Brown, for shading and finishing red flowers, is dark, rich in color, making a very complimentary background for gold decorations. If used delicately for ground laying, it should be fluxed one-fourth, otherwise it will rub off* after firing. It glazes highly, if used full strength. A pleasing combination in reds, and one which presents no difficulties for amateurs, is to lay on a grounding tint of carmelite, fluxed one-fourth, be- ginning with full strength at the bottom of the vase, graduating and loosing the tint at the top. When dry, sketch in a graceful open design of drooping palm leaves, which are laid in with car- nation No. 2 for the foundation color and shaded with deep red-brown; the same color placed solidly upon the handle, and then outline the leaves and stems with brown No. 4. Give a strong fire. Afterwards treat the decoration with radiating dashes of hard gold. The background and handle w r ith cloudings of gold, and the top of the vase to be edged with matt gold. Regular kiln fire. Combination of reds for nasturtions. — The lightest foundation is orange red ; shade with capucine, and finish with deep red-brown. For rich colorings : foundation — capucine ; shading — deep red-brown. Centers — orange yellow, shaded with brown-green. Yellow flowers — silver yellow shaded with orange yellow, blended into carnation No. 2. Darkest blossoms — violet of iron shaded with orange yellow and brown-green No. 6. Carmines are the test colors for all kilns. If short fired, they will develop into a yellow-red. If 2S fired too strong, a violet tint will be the result ; and they will chip off, and turn yellow, if laid on too heavy. English Pink is considered by decorators to be more reliable, while if carmines are properly treated and fired rose-color heat,' will always be satisfactory. Carmine No. i is used for the foundation color of pink flowers, shading with carmine No. 2. If thinly applied for backgrounds add one-fourth flux. They mix with blues, purple, black, greens and mixing yellow. Grays are all poor in flux and require one- fourth, or they can be glazed with other colors. Light Gray, No. 1 will not mix with colors and is a good shading gray for very white flowers : Easter lilies, lily of the valley, etc., but not to be used over pink or yellows. Gray No. 2, a darker shade of gray. Pearl Gray. — Soft grounding gray cannot be used in iiower painting. Equal parts of pearl and neutral gray, adding a touch of chrome green — a good flesh gray is obtained. Neutral Gray. — A mixing gray, and is the only gray that mixes with all blues. It combines with all other colors, excepting yellows and reds. It is the darkest gray and is very useful in marine painting, and for fish and sea weeds in combina- tion with sky-blue. A thin wash of brown or olive green, over purple flowers, produces a soft gray. 29 Dark Green No. 7, delicately applied over red flowers softens their color into gray. A beautiful Silver Gray, useful in fish painting, is composed of three parts of sky blue, to one part of neutral gray. The Shading Gray, for pink and white flowers, are equal proportions of apple green and carmine No. 2, mixed thoroughly into a soft gray, and ap- plied delicately. Gray Shading for yellow flowers. — Two parts of yellow-brown, one part of brown-green No. 6, with only a touch of ruby purple, thoroughly mixed. This is the only reliable combination for grays that will stand on yellows and not fire off. Grays lose their strength in firing, and should be applied strongly. Regular kiln fire. Silver Yellow, medium shade. — Used for fruit painting and yellow flowers. Ivory Y ellow. — Soft tint for grounding, if used very thinly. Fire only once, as it is liable to darken. It is a good glazing yellow for skies, fruit and landscape. Jonquil Yellow. — A good mixing yellow with all light greens. An excellent foundation color for chrysanthemums, first shading silver yellow, second shading orange yellow. Yellow for Mixing. — Used to lighten greens and for glazing carmines, to warm and soften them, applied very thinly. Will not mix with reds. Orange Yellow. — Hard, strong color. If laid too heavy will scale in firing. Mixes with reds and carnations to obtain the rich colorings in nas- 30 turtions, with browns and ochre, but not with greens, as it inclines them to brown. Dark Ochre, for Landscape and animal painting-. Yellow Ochre. — Used for backgrounds ; mixes with greens, browns and purple. The lightest shade of yellow is jonquil ; medium, silver yel- low ; darkest, orange yellow. For outlining flow- ers with this combination, use brown No. 4, with a touch of ruby purple added. Regular kiln fire. Ruby Purple. — Strong color, and excellent for strengthening greens for shading, also for mixing. Lavender tints are secured, by taking one part of ruby purple, three parts of victoria blue, with one part of flux, well mixed. Vary the proportion according to the shade required. Ruby purple should be laid very thinly for grounding, and a stiong firing will bring it out a rich crimson color. If a darker tint is desired, give two layers and fire twice. Purple No. 2. — A very soft, pretty color for flower painting, not brilliant. Regular kiln fire. Capucine Red is the richest and most beautiful of all the reds. A satisfactory color in every par- ticular. Fires with a high gloss, and is used as a foundation color for poppies, trumpet blossoms, geraniums, etc. Its shading color is deep red- brown. Gray shading — a thin wash of dark green No. 7, laid over the colors very delicately. If used for backgrounds flux one-fourth when a delicate tint is required, which should not be added if the color is used with full strength. It combines with orange yellow, for nasturtions. 3i Carnations are a pink-red in color and sometimes substituted for carmines. They cannot be used for the pure delicate pink seen in wild roses, yet, for many flowers, they will be found reliable, as they change very little in firing. If laid very thin for light effects in painting and grounding, add one- fourth flux, otherwise they will rub off. For flesh tints, add a touch of ivory yellow to carnation No. 2. For Poppies : foundation — carnation No. 2, when perfectly dry, shade with orange red, and deep red- brown for deepest shadows. For gray effects — a thin wash of dark green No. 7. The centers — apple green, and the markings — violet of iron. After firing strengthen the carnation with capu- cine red, the shadows with deep red-brown. For Pink Flowers, use carnation No. 1 for foun- dation color, shading with carnation No. 2. They mix with browns and ochre and all reds, ivory yellow, orange yellow, but not with mixing yellow. Orange Red. — Very rich and brilliant, used in fruit painting, for red nasturtions, chrysanthe- mums, and trumpet blossoms, etc. Shade with capucine red ; second shading — deep red-brown. Vary the tints and use the orange red cautiously. Japan Rose. — A soft pink grounding color. Apply delicately. The lightest color in reds is orange red ; medium, capucine ; darkest, deep red-brown. Regular kiln fire. Ivory Black. — A strong shading color, and also for mixing. German black, deeper in tone and Small Distant Flowers are painted on the sur- face of the vellum ground, very delicately, with bronze lavender ; center of flowers — bronze yel- low, touched with bronze orange. 4S LOTUS BLOSSOMS AND LEAVES FOR A TRAY. In La Croix Colors. Background. — Chinese yellow. Large Leaf. — Victoria blue on the edge and blended into ivory yellow, and yellow ochre on the left. On the Right. — Local tint — carmine No. i, using carmine No. 2 for shading. Between the blue and pink lay in a gray tint composed of carmine No. 2 and apple green. Gray Leaf. — Carmine No. i and apple green, shaded with the same. Outside edg-e — carmine No. 2. Lower Leaf. — Apple green and brown-green No. 6, blended into carmine No. 1. The lavender effects are obtained with victoria blue and ruby purple Flowers. — Foundation tint — yellow ochre and carmine No. 1, shaded and streaked with carmine No. 2. Center. — Mixing- yellow and ivory black. Distant Flowers. — Blue-green, painted delicately upon the ground tint. LOTUS BUDS AND LEAVES FOR A PLATE. Upper and Lower Buds. — Foundation — bronze terra cotta, shaded strongly with bronze pink. Middle bud — bronze celeste and bronze lavender, with touches of bronze pink. Blossoms. — Inside of petals — bronze terra cotta. Outside and standing petals — bronze pink, shaded and streaked with the same. Centers — bronze orange. Stamens — relief paste for gold. Large Leaf. — Foundation of shadow side — bronze terra cotta, deepening- to bronze lavender at the tips, with touches of bronze green No. i, matt purple and matt yellow-brown. Right side of leaf — bronze lavender, graduated to the center with bronze water green and bronze orange, shaded with matt purple and bronze green No. i. Bronze coral red surrounds the center, which is matt purple. Soften the varying colors of the leaves into each other, without overlaying them, to secure purity of tints. Lower Leaf. — Local tint — terra cotta, shaded with bronze lavender and bronze water green. Leaf on the Left. — Foundation — bronze water green and bronze lavender, with touches of bronze green No. i. Under side of leaf — bronze water green, shaded with bronze green ; matt purple center. Distant flowers and leaves are painted very delicatety with matt blue-green upon the vellum ground. Centers — bronze orange. Stems — bronze water green. LOTUS BUDS AND LEAVES FOR A PLATE. In La Croix Colors. Flowers. — Carmine No. r, shaded with carmine No. 2 for the outside, and ivory yellow for the in- side of petals. Large Leaf. — A mixture of victoria blue and ruby purple on the left, deepened into deep chrome green. 50 Upper Side. — Ivory yellow and yellow ochre, shaded with purple. Top Edge. — Yellow ochre mixed with very little ruby purple, and shaded with brown-green No. 6 and ruby purple, blended into ivory yellow towards the center, which is coral red. Stems. — Ruby purple and victoria blue for the lavender tint. Lower Leaves. — Apple green and brown-green mixed and blended into carmine No. i. Shadow tint — apple green and carmine No. 2. BIRDS AND BRANCHES. Birds. — Matt yellow-brown for the foundation tint of the breast, back, and around the eyes, shaded with matt flesh red. A combination of matt warm gray and matt brown is delicately laid in for the head, wings and tail, shading with matt brown and matt black, same as colored example. Bronze lavender for the high lights on the head, wings and eyes. For the last shading on the neck, top of wing, and breast, use matt warm gray. Floivers. — Bronze yellow touched with bronze orange, and bronze pink centers. Leaves. — Matt yellow-green shaded with bronze green No. 1. Large Stems. — Matt yellow-brown shaded with matt brown. Stem on the right — bronze laven- der and bronze celadon mixed, and painted upon the bronze vellum background, using the same for distant leaves. 5* BIRDS AND BRANCHES.— In La Croix Colors. Birds. — Breast — carnation No. 2, shaded with carnation No. r. Wings and tail laid in with brown No. 4 and ivory black mixed. Lavender effects are produced with victoria blue and ruby purple. Eyes and bill are traced in ivory black. Brown Stems. — Yellow ochre and carnation No. 1 mixed, and shaded with violet of iron. Green Stems. — Grass green and mixing yellow, shaded with brown-green No. 6 and chrome green B. The same for leaves. Flowers. — Jonquil yellow, shaded with silver yellow and yellow-brown ; stencil out the centers and lay them in with carnation No. 2. Use white enamel for raising the lights. Distant Leaves. — Apple green and carmine No. 2 mixed. PURPLE CLEMATIS. Flowers. — Foundation tint — bronze lavender, with the addition of very little bronze pink ; first shading — bronze lavender ; second shading — matt purple, using bronze pink for the dividing line of the petals. Back of the Flowers. — Bronze celadon, shaded with bronze green No. 1. Ce?iter of Flowers. — Matt light yellow-green, streaked with bronze pink. Buds treated in the same manner. Leaves are a combination of matt blue-green and matt dark green, shaded with bronze green No. 1. 52 Light Leaves and Tendrils. — Foundation — matt lemon yellow and matt light yellow-green mixed, and shaded with bronze green No. i. Stems. — Bronze celadon, shaded with bronze green No. i, with touches of bronze pink. Distant Leaves are painted upon the vellum background with bronze celadon mixed with bronze lavender. PURPLE CLEMATIS. — In La Croix Colors. Flowers. — Foundation — three parts of victoria blue to one of ruby purple, shading with the same — equal parts— and using ruby purple for the center lines of the petals. Centers. — Grass green and mixing yellow. Flower on the Left. — The same colors, treated more delicately. Large Leaf. — Blue-green and chrome green B, shaded with brown-green No. 6 and dark green No. 7 ; under side of leaf — grass green and mixing yellow. Distant Grasses. — Brown-green No. 6. PEONIES CONVENTIONALIZED. Flowers. — Bronze pink, shaded and streaked with full strength of the same color and washed over with bronze orange. Yellow Flowers. — Bronze orange for foundation. Shadow tints — bronze pink (follow colored. ex- am pie). 53 Leaves on the Left. — Lightest tint — bronze lav- ender, deepened with matt purple for shadows ; use bronze pink for strong touches. Leaves on the Right, and also the lower leaves, are composed of bronze water green, shaded with matt purple. Stems. — Bronze lavender and matt purple ; gray stems — bronze celadon and bronze lavender. Small Distant Flowers are painted on the sur- face of the vellum ground, very delicately, with bronze lavender ; center of flowers — bronze yel- low, touched with bronze orange. PEONIES.— In La Croix Colors. Background. — Chinese yellow, full strength to- wards the outside edges. Pink Flowers. — Foundation tint of carmine No. i ; while moist blend it with yellow-brown. Shade with carmine No. 2 and apple green, mixed and laid over the local tint when dry. For Deep Shadow and streaks use carmine No. 2, full strength. Yellow Flowers. — Silver yellow, shaded and streaked with ruby purple. Stems. — On the right — blue-green, with a touch of Carmine No. 2 ; shade with the same ; finish with strong touches of carmine No. 2. Lavender Leaves. — Three parts of victoria blue to one of ruby purple for the first tint and shaded with the same, equal parts, with touches of car- mine No. 2. 54 Green Leaves. — Mixing yellow and apple green, shaded with brown green No. 6 and blue-green. Distant Flowers. — Ruby purple and victoria blue, treated delicately on the surface of the ground tint. PANSIES. Pansies. — Foundation tint — matt lemon yellow. First Shading. — Matt gold yellow. Take one part of matt purple to two parts of matt yellow- brown ; mix them thoroughly for the second shading. The edges and strong touches on the petals are obtained with bronze pink. The Centers are bronze yellow shaded with matt dark green. Radiating lines are matt purple. Buds and Half-blown Flowers. — Treated in the same manner. Follow colored example for details in treatment. Leaves. — Matt light yellow-green and matt lemon yellow combined, for the upper part, graduating into matt dark green, shaded with bronze green No. i. Matt blue-green and matt dark green, mixed, for the darker leaves, shaded with bronze green No. i. Stems. — Matt light yellow-green and lemon yel- low, with bronze green No. i for shading. Distant Grasses are painted upon the surface of the vellum background tint with bronze celeste, very delicately. PANSIES. — In La Croix Colors. Background. —Chinese yellow. Pansies. — Foundation tint — jonquil yellow, blend- ed into ruby purple towards the outer edge of 55 petals, When dry, shade with silver yellow. Deep shadows — yellow-brown and ruby purple. The stripes are ruby purple laid over the colors when dry. Centers. — Grass green and mixing- yellow. Buds on the Rig/it, treated in the same manner. Dark Petals. — Ruby purple, delicately laid in, with strong touches of ruby purple on the edge and centre stripes. Leaves. — Dark blue-green and chrome green B mixed, and shaded with brown green No. 6 and chrome green B. Light Leaves. — Grass green and mixing yellow ; for shading use brown-green No. 6 and dark green No. 7. The Same Colors are applied to the stems. IRIS FOR TRAY. Flowers. — Foundation tint, upper petals — bronze celeste shaded with bronze lavender. Lower Petals. — Bronze lavender, strengthened with matt purple in the shadows. Pollen. — Bronze yellow, with touches of bronze orange. Brown Leaves and Buds are laid in with bronze brown, with the addition of very little bronze pink, using the same combination full strength for shading. Green Leaves. — Upper foundation — matt blue- green and matt dark green mixed, to correspond with design, and graduated down into matt lemon yellow and matt yellow-green mixed ; shadow 5& tints — bronze green No. [, using the same for the stalks. Distant Flowers are painted upon the vellum surface with bronze lavender and bronze celadon. This Design is very effective in blue and gold, using matt deep blue delicately for the entire foundation tints ; the same for shading, full strength. IRIS. — In La Croix Colors. Flowers. — Take four parts of victoria blue to one of ruby purple for the upper petals ; add more ruby purple to deepen the tint for lower petals, using the same, full strength, for shading. Pollen. — vSilver yellow, shaded with orange yel- low. Deep Shadows. — A combination of yellow-brown and ruby purple. Brown Buds and Leaves. — Foundation tint — car- mine No. 2 mixed with yellow ochre and ruby purple, the same for shading, and painted upon the surface of the background. Leaves. — Blue-green and chrome green B ; first shading — grass green and mixing yellow ; deep shadows — brown-green No. 6 a ad dark green No. 7. GARDEN ANEMONE. Pink Flowers and Buds. — Bronze pink, deli- cately wash in the same color ; full strength for shadows. Mix matt black, matt light blue and matt purple for the foundation tint of the centers, and finish with strong touches of matt black. 57 Lower Flower. — Bronze vellum, thinly laid in, and matt lemon yellow softened into the founda- tion tint with a stippler ; follow colored example. The shading- color is bronze celadon ; the center is treated as described above ; bronze pink and matt purple for the streaked effect on the petals, radiating from a matt lemon yellow center. Distant Leaves. — Bronze celadon mixed with bronze lavender, painted delicately on the surface of the vellum ground. Leaves and Steins are matt blue-green, matt yellow-green, matt dark green, and shaded with bronze green No. i. GARDEN ANEMONE.— In La Croix Colors. Flow r ers. — Local tint — carmine No. i shaded with carmine No. 2, finished with a soft shadow tint composed of apple green and carmine No. 2. Centers. — Violet of iron, shaded with ivory black. Light Flowers. — Mixing yellow, utilizing the plain china for high lights ; shadows — apple green and carmine No. 2 ; ruby purple for streaked effect, and finished with sky blue. Leaves. — Grass green mixing yellow, brown- green No. 6, and dark green No. 7 ; equal parts for shading. Stems. — Grass green and mixing yellow, shaded with brown-green No. 6 and chrome green B mixed. The Lower Flower has a thin wash of sky blue over carmine No. 1, to produce the purple effect. 5« Distant Leaves. — Blue-green, lightly laid over the ground tint. POPPIES. Flowers and Buds. — Foundation tint — flesh red ; first shading — brick red; deep shadows — matt red. Centers. — Matt yellow-green and matt black. Leaves. — Foundation — matt blue-green, modified with matt dark green, graduated into matt yellow green ; shaded with bronze green No. i. The same for stems. Tall Grasses and Distant Leaves are painted upon the vellum background with bronze lavender and bronze celadon mixed. When Thoroughly Dry, outline the design (ex- cepting distant effects) with relief paste. POPPIES. — In La Croix Colons. Poppies. — Local tint — carnation No. 2 ; first shading — capucine red ; second shading — deep red-brown ; base of petals — victoria blue, with a touch of ruby purple. Centers. — Grass green foundation, and violet of iron, with strong touches of ivory black. Dark Leaves. — Blue-green, delicately laid in and shaded with chrome green B and brown-green No. 6. Light Leaves. — Grass green and mixing yellow, shaded with brown green No. 6 and dark green No. 7 mixed. 59 Distant Leaves. — Painted upon the grounding tint — carmine No. 2 and apple green mixed. CACTUS. Flower. — Foundation tint — bronze pink, laid in very delicately ; first shading — bronze pink ; when dry apply a thin wash of bronze orange over the entire flower, excepting the center, which is bronze yellow shaded with bronze orange ; second shading is composed of bronze pink, bronze orange and matt dark g±*een mixed. Buds treated in the same manner. Stems are bronze brown and bronze pink mixed, and finished with strong touches of bronze pink. Large Leaf. — Begin with matt flesh red, gradu- ated into matt dark green and matt lemon yellow mixed for the foundation tints ; shaded with bronze green No. 1. Lower Leaf. — Matt blue-green and matt dark green, shaded with bronze green. Leaf on the right — matt dark green, matt yellow-green and bronze pink. Use bronze pink for the radiating points of leaves. For Distant Leaves. — Bronze lavender and bronze celadon mixed, and painted delicately upon the surface of the vellum ground. CACTUS. — In La Croix Colors. Background. — Chinese yellow. Blossom. — Foundation — carmine No. 1, and shaded with carmine No. 2 and apple green laid over the local tint when dry. 60 Centers. — Mixing yellow touched with orange yellow. Large Leaf. — Upper part — violet of iron, worked into chrome green B and mixing- yellow, and shaded with brown-green No. 6 and dark green No. 7 mixed, and blended with the brush. Lower Leaves. — Blue-green and chrome green B for foundation, shaded with brown-green No. 6 and dark green No. 7 mixed. Stems. — Violet of iron foundation ; brown-green No. 6 and dark green No. 7 for shading ; dark touches — violet of iron. Distant Leaves — Brown-green No. 6. BIRDS AND BLOSSOMS. Bird. — Tip of wings, tail, top of head, legs and feet — matt black. Upper part of wings and back — matt light blue and neutral gray ; add matt white to heightened effects for lights. Breast — matt lemon yellow shaded with neutral gray. Apple Blossoms and Buds. — Outside of petals — bronze pink, shaded with matt dark green and bronze pink. Inside of petals — ivory vellum, thinly laid, shaded to the center with matt warm gray. Stamens in relief paste. Blue-Green Leaves. — Matt blue-green, modified with matt lemon yellow to soften the effect. Light Yellow-Green Leaves. — Matt light yellow- green and matt lemon yellow. Shadows — matt dark green and matt yellow-brown. Stems. — Light yellow-green, shaded with matt brown. 6i APPLE BLOSSOMS AND BIRD.— In La Croix Colors. Background. — Chinese yellow. Stencil out the Flowers with tar paste, preparatory for painting. Outside of Blossoms. — Carmine No. i, blended delicately into mixing yellow towards the center ; combine carmine No. 2 and apple green for the soft gray shading. Stamens — relief paste. Leaves. — Dark blue-green and chrome green B mixed, and shaded with brown-green No. 6 and chrome green B. Light Leaves. — Grass green and mixing yellow ; for shading — brown-green No. 6 and dark green No. 7. Dark touches on the leaves — sepia and yellow ochre. Bird. — Deep ultramarine blue, shaded with vic- toria blue and ruby purple mixed. Breast. — Mixing yellow, shaded with orange yellow ; brown No. 4 and ivory black mixed for the tips of the wings and tail. CALIFORNIA MORNING GLORYS. Flowers. — Foundation tint — bronze pink, gradu- ated into bronze yellow towards the roots of the petals ; shade with bronze pink ; when dry apply a thin wash of bronze orange over the pink to soften it. The green shading is composed of matt yellow-green, and bronze green No. 1 for the darker tint. Buds. — Bronze pink. 1,2 Leaves. — Matt blue-green foundation, strength- ened towards the stem with matt dark green, and shaded with bronze green No. i. Stems and Small Leaves. — Matt yellow-green, shaded with bronze green. CALIFORNIA MORNING GLORY. In La Croix Colors. Background. — Chinese yellow. Flowers. —Foundation tint — carmine No. i, deli- cately laid in and graduated towards the center into mixing yellow. Deep shading — carmine No. 2, full strength. Combine mixing yellow and apple green for the green effect at the base of the petals. For the outside of Petals. — Yellow ochre and mix- ing yellow, delicately applied ; tip of petals — car- mine No. 2. Leaves. — Deep blue-green foundation, graduated into apple green and mixing yellow ; shade with brown-green No. 6. Stems and Grasses. — Mixing yellow and grass green, touched with brown-green No. 6. The work is now ready for the first fire (rose-color heat) ; afterwards outline the design with hard gold. , CLEMATIS. FlQwer in the Center. — Foundation tint — bronze lavender, shaded with the same, full strength. Deep shadows — matt purple ; center — matt yel- 63 low-green and matt lemon yellow, streaked with matt purple and bronze pink. Lower Blossom and Buds. — Bronze pink and bronze lavender mixed, with touches of matt purple ; center — same as above. Flower on the Left. — Foundation tint — bronze pink delicately applied, and shaded with matt purple. Stems. — Matt yellow-green and bronze yellow mixed ; shaded with bronze green No. i. Leaves. — Matt lemon yellow and yellow-green mixed for foundation tint, graduating into matt blue-green ; shading with bronze green No. i. After the tint is perfectly dry wash over the entire leaf with matt blue-green mixed with very little dark green. The effects of green are soft- ened by this combination. Distant Leaves. — Bronze celadon and bronze lav- ender mixed, painted on the surface of the vellum ground. CLEMATIS.— In La Croix Colors Flowers. — Take four parts of victoria blue to one part of ruby purple for foundation tint, adding' more purple for the deep shadows. The dividing lines of the petals are ruby purple, full strength. The Delicate Green effects in the flowers are obtained with grass green and mixing yellow, shaded with apple green and carmine No. 2 mixed. Leaves. — Mixing yellow and apple green ; brown- green No. 6 and dark green No. 7 for shading. 6 4 Buds. — Carmine No. r, shaded with apple green and carmine No. 2. Stems. — Violet of iron. Distant Leaves. — Apple green and carmine No. 2. PRIMROSES. Flowers. — Foundation tint, bronze pink laid on very delicately, shaded with the same full strength, adding- a very little bronze green No. 1 for the gray shading - toward the center, which is matt lemon yellow shaded with bronze green No. 1. Stems. — Bronze brown for the foundation, with strong- touches of matt brown and bronze pink mixed, and finished with matt light yellow-green to soften the effect. Leaves are laid in with matt blue-green and matt dark green, mixed ; shadow side — matt yellow- green shaded with bronze green No. 1. Distant Leaves and Tendrils are painted delicately upon the bronze vellum background with a com- bination of bronze lavender and bronze celadon. PRIMROSES —In La Croix Colors. Background. — Chinese yellow. Flowers. — Foundation — carmine No. 1, laid in very delicately and shaded with carmine No. 2 and apple green. Centers. — Mixing yellow, with touches of chrome green B. Extreme Centers. — Brown green. Stems. — Grass green. Brown green No. 6 and violet of iron mixed for shadows. 65 Leaves. — Dark blue-green and chrome green mixed, shaded with brown-green No. 6 and chrome green B. The yellow effects in the leaves are obtained with grass green and mixing yellow. Deep shading — brown-green No. 6 and dark green No. 7. PASSION FLOWER. Upper Flower. — Foundation — bronze pink, deli- cately applied. When thoroughly dry, go over the petals quickly with bronze celeste to produce the soft, pink lavender effect, as indicated in the colored design. All of the turned edges of the petals are laid in with bronze pink. The Centers are treated alike with bronze yellow shaded with bronze orange. The radiating streaks are matt purple, with delicate touches of matt black. Center and Lower Flower. — Bronze lavender shaded with the same, using- matt purple for the deep shadows. Blue-Green Leaves. — Matt blue-green and matt dark green, mixed, shaded with bronze green No. i. Yellow Green Leaves. — Matt light yellow-green mixed with matt lemon yellow ; shaded with matt dark green and bronze green No. i. Stems. — Matt dark green with touches of bronze green No. r. Small Distant Flowers are painted upon the vellum surface with bronze lavender and bronze celadon. 66 When Thoroughly Dry outline the design (except distant effects) with relief paste. PASSION FLOWER. — In La Croix Colors. Background. — Chinese yellow. Flowers. — Inside of petals carmine No. i, blended into victoria blue. Centres. — Mixing yellow, shaded with yellow- brown and ruby purple laid over the yellow. Stripes. — Deep blue and ruby purple mixed, and ivory black for deeper effects. Outside of Petals. — Carmine No. i, shaded with carmine No. 2. Yellow Gree?i Leaves. — Grass green and mixing yellow, using brown green No. 6 and dark green No. 7 for shading. Dark Leaves. — Blue-green delicately shaded with grass green. Distant Flowers. — Deep blue-green very lightly laid over the ground tint. Centres. — Mixing yellow. (Ifreatment for f©™il. Strawberries. — Foundation — capucine red, ap- plied delicately, particularly on the light side, shading with capucine, full strength, and darkened with deep red-brown. For lighter effects, use carnation No. 2 for the first wash ; while moist, stipple and round the berries. Half -ripe Berries. — Carnation No. 1, deepened with capucine and blended into apple green, mix- ing equal proportions of carmine No. 2 and apple green for the gray shading ; stipple evenly. Green Berries. — Foundation — grass green, touched with brown-green No. 6, and stippled. When they are perfectly dry, put in the seed vessels with ivory black, cutting out the color for touches of silver yellow. Vary the Coloring for Darker Berries with a transparent wash of orange red. On the shadow side, use the same color, full strength, and stipple smoothly. After firing, deepen the berries with capucine red. Currants. — Delicate wash of orange red on the light side, the same full strength for shading, using touches of dark green No. 7 to deepen it. 68 Cut out the lights and glaze them over with grass green. Define the lines with the erasing pin, and cover them with yellow-brown. Distant Currants. — Carnation No. 3 for the foun- dation, shaded with violet of iron, finished with touches of deep red-brown. Blend the tints with the painting brush, and do not use the stippler. Yellow Cherries. — Beginning at the stem, lay in a delicate foundation with carnation No. 3, shading with capucine red and extending it down into ivory yellow, which is strengthened with orange yellow. While moist, stipple into form. Cut out the high lights, and after the first fire — on the orange yellow foundation — lay in a shadow tint of yellow-brown, adding a touch of brown-green No. 7. Stipple smoothly, avoid hard decided lines after cutting out the high lights ; stipple the color to soften the edges. Cherries, medium in color. — Orange yellow, shaded with capucine red. Cherries, dark. — Foundation — deep red-brown, shading with ruby purple, stippled carefully. Red Raspberries. — Foundation — carmine No. 1, shading with carmine No. 2 ; dark shading — purple No. 2. Trace the berry with carmine No. 2, and indicate the markings with the same color, making the " rings " heavier on the lower side and de- crease their size as they reach the outside edge, to round the effect. Green Berries. — Apple green and mixing yel- low ; shadow side — brown-green and dark green No. 7. Use the same color for markings. 6 9 Purple Berries. — Purple No. 2, shading and markings with the same ; full strength. Distant Berries. — Foundation — victoria blue and purple No. 2, mixed, and delicately washed in ; the shadows and markings are laid in with the same, full strength. Blackberries. — Rings, ivory black, full strength. When dry, a transparent wash of one part of ruby purple with three parts of victoria blue, adding very little ivory black, mixed thoroughly, and laid over the light side, graduated into deep red-brown for the shadows. Gooseberries. — Highest lights — apple green and mixing yellow, blended into apple green and dark green No. 7 ; for the shadow tint, add a touch of yellow-brown. Cut out the veinings, and trace them in thinly with jonquil yellow. After the first firing, the shadow side of the berry will require a thin wash of capucine red. Purple Grapes. — Foundation color — two parts of deep blue, with one part each of deep purple and ivory black, thoroughly mixed, and laid over the entire grape delicately, adding a little more purple for some of them, to obtain the red variety. Stipple smoothly. When dry, shade with the same colors, full strength. On the outside edge of the shadow side, leave the reflected light to round the grapes. Cut out the high lights, and, when thoroughly dry, lay over the colors a thin wash of victoria blue. After the first fire, round up the shadows with purple and black. When dry, place 7o a transparent wash of yellow ochre on the lower side of the grapes. Half-ripe Effects. — Foundation — mixing yellow and apple green, blended into deep purple and ivory black, shaded with brown-green No. 6. The shadow side should be clear deep purple. Last shading — a mixture of deep purple, black and vic- toria blue, and stipple to round the grapes. When thoroughly dry, glaze with deep chrome green. Stems. — Yellow-brown, shaded with violet of iron and brown-green No. 7. Touches on the leaves — violet of iron. Tendrils. — Grass green and mixing yellow, shaded with brown-green. Peaches. — Foundation — carnation No. 2, blended into violet of iron and sky blue for shading. The reflected light on the outside edge is laid in with yellow ochre. A delicate foundation of ivory yellow for the light side, blended carefully with brown-green for shading. While moist, stipple the colors smoothly, and after firing, strengthen the shadow side with corresponding colors, and deepen the shading with three parts of brown-green, and one part of brown No. 4. Stipple evenly. When dry, add touches of carnation No. 2 with the stippler. For darker markings, brown No. 4 and violet of iron, and strengthen the ivory yellow with dashes of orange -yellow, reserving the lights. Give a strong fire. ^Treatment for (®eav>>es. A general treatment for leaves will be given, and your copy will suggest the selection : Blue-Green, worked in with grass green and mixing yellow ; shading with brown-green No. 6 and yellow ochre ; afterwards strengthen with brown No. 4. Tips — violet of iron. The ribs on the underside of the leaf — cut out and fill in with mixing yellow and grass green combined. Apple Green and brown-green No. 6 for foun- dation color, worked in with violet of iron, and shaded with brown-green No. 6 and yellow ochre ; pink touches — violet of iron blended in with the green. Stems.- — Yellow-brown, shaded with brown No. 4 and violet of iron. The above will apply to grape leaves. Dark Heavy Leaves. — Foundation — emerald stone green, shaded with the same mixed with brown-green No. 6 ; second shading — dark green No. 7 and brown-green No. 6 combined. Blue-Green Leaves. — Foundation — blue-green and dark green No. 7, graduated into apple green 72 and mixing yellow, shading with brown-green No. 6 and ehrome green B mixed. Yellow Leaves . — Mixing- yellow and grass green, shading with brown-green No. 6 and dark green No. 7, with touches of sepia and yellow ochre. Medium. — Dark green No. 7, shading with grass green and mixing yellow ; second shading — brown- green No. 6. Delicate Leaves. — Apple green, adding carmine No. 2 for gray shading ; used also for distant leaves. Underside of Leaves. — Grass green and mixing yellow, or, blue-green, shaded with chrome green B. Shadow Leaves. — Apple green and brown-green mixed, and blended into carmine No. 1, shading with apple green and carmine No. 2. Strong touches on leaves, tips and outlining — violet of iron. Stems, Calyx and Stamens. — Grass green and mixing yellow, shading with brown-green No. 6 and chrome green, mixed. Brown-green No. 6, shading with brown No. 4. Blue-green, with a touch of carmine No. 2 ; shade with the same. Violet of iron, adding a little brown-green No. 6 and dark green No. 7 for shading aekgpounck, WITH LR CROIX AND ROYAL WORCESTER COLORS, Are treated in the same manner. The dark colors require less dilution, consequently less oil is used with them. The proportion of the Osgood Art School tinting oil to grounding colors are ; two parts of oil with four of color. Begin at the top with the lighter tints, to be followed with the medium shade and graduated into the darkest color at the bottom. The colors should be blended while moist to prevent hardness of outline where they over-lap each other. Use a deer-foot stippler Xo. 6 to reduce the dark tints to smoothness, while dabbers of cotton, enclosed in fine, soft mull, are required for the lighter colors, changing them often. Be expedi- tious, as your colors are drying. The white spots which appear after firing, on the surface of delicate grounds, are often produced by using wet dabbers, and, again, by neglecting to incorporate the flux thoroughly with the colors. 74 Keep your tints pure and clean, to give brilliancy to your painting-. If you have succeeded, the harmonious blending of your background will well repay you for the anxiety and trouble, and it will never be as* difficult again. A selection of La Croix colors for graduated backgrounds are given and will be found very effective ; besides, the eye will become trained to observe the gradation of tints — useful in all branches of china painting : Light. Medium. Dark. Blue— Turquois Blue Deep Blue Old Blue Green — Olive Green Brown Green No. 6 Dark Green No. 7 Yellow-- Jonquil Yellow Silver Yellow Orange Yellow Pink — Japan Rose Deep Purple Red— Carmelite Capucine Red Deep Red-Brown Lavender — Lavender Blue Light Violet of Gold Deep Violet of Gold Brown — Yellow Ochre Sepia Brown No. 4 Apply these colors in delicate washes. Pretty effects are produced with the light and medium tints alone. When thoroughly dry, sketch upon it a design, to be painted with the darkest corre- sponding tint, giving a very effective monochrome. When finished, outline with gold. If a more deli- cate treatment for flower painting is required, take the medium colors — for the darker shade — and graduating them into the lighter tints ; or any one of the colors can be used alone, modifying the effect with the aid of tinting oil, and pouncing them into delicacy. All colors require a strong fire before working the hard gold over them, otherwise the gold will sink into the rough surface of the painting, and no amount of polishing will restore it to brilliancy. 75 Royal Worcester backgrounds are treated in the same manner. To one part of ivory vellum add two parts of either of the following bronze colors : Pink, lavender, celeste, water green, orange, golden buff ; thoroughly mix them with the tinting oil, and graduate this mixed tint into ivory vellum as your taste may suggest. Bronze brown and Paris blue, Green Nos. i and 2, used alone for solid effects, and fired ; afterwards treated with hard gold or brushing the gold over it (not too heavy) will give the appearance of genuine bronzes. It is a waste of gold to attempt mixing it with the moist color, and not as satisfactory as the process described. When preparing a quantity of color for back- grounds use a small glass muller for mixing them upon a porcelain tile. A palette knife cannot be used indiscriminately with colors, some of which change when brought in contact with steel; besides, you have the broad surface of the muller to better incorporate the mediums. The success of your painting largely depends upon thorough mixing — to avoid inequality and unevenness of tint, as if dust had settled into the color when moist. ©ireetions for {©avjiny ©pounds. The most important -preliminary requisite to successful tinting and painting with mineral colors is an entire absence of dust. If any should accum- ulate upon the surface while working-, remove it at once with a needle. If allowed to remain, the color will settle about the particles and produce a bad effect after firing. Prepare the china for sketching by rubbing the surface with turpentine, as it will take the pencil better. If you are unable to draw in the design, transfer them with the aid of tracing or impression paper, afterwards outlining the sketch very deli- cately and distinctly with a No. i tracer and India ink. Make all corrections before laying the tint, as a defective drawing cannot be disguised with color. Decide upon the quantity of grounding tint required, as it is an impossibility to match shades with moist colors. Take four parts of any quantity of ivory vellum or cream tint, and add to it two parts of tinting oil, which prevents the color from drying too rapidly. A thorough mixing of the two is very necessary. 77 When it is reduced to a smooth paste, add tur- pentine, being- careful not to use it in excess. When it flows from the brush, covering the ware opaquely and remains without spreading-, then it is in fine working" condition. If too thin, add a little more color ; if a great deal of color is required, more oil must be used, otherwise the tint will dry too fast. If too much oil is used, it draws the dust to the color and every precaution cannot prevent it. The brush must be thoroughly cleaned with turpentine, dried, then dipped in oil. A few strokes upon a tile will reduce the quantity of oil in the brush, which is now ready for the color. The cause of unsuccessful ground-laying can be attributed, very often, to placing the brush in the color direct from the turpentine, which not only thins the color, but gives a streaked effect to the surface which blending cannot soften. Mixing thoroughly cannot be too strongly in- sisted upon ; always use a horn knife or glass muller, never utilizing the brush for the purpose — spoiling it for all practical use. The tint should always be remixed whenever the brush is returned to it, adding very little turpentine when it becomes too thick. If any color remains after painting or tinting, it can be returned to the vial in its moist condition, and used again. Brushes. — Use a large, flat camel's-hair ground- ing brush, size ^, perfectly free from loose hairs, clean, and otherwise in good condition. 78 Directions for Working. — Everything being in readiness, charge the brush with color, and pro- ceed to cover the entire surface of the china with broad, flat washes, in such a manner that each application of color will soften into each other, giving an even smoothness to the work which can never be accomplished by hesitancy, so quickly perceptible in ground-laying. If the surface is devoid of ridges, do not blend it. If it presents an uneven effect, use a dabber or deer-foot stippler to soften the tint, being expeditious, otherwise your color will become dry and unmanagable. Do not blend too much, as the dabber and the brush absorb the medium, leaving the color " grainy " and the surface semi-opaque, in direct opposition to what it should be. A skillfully- managed background presents more difficulty to the amateur than the decoration that follows. Dabbers should be prepared in advance, and changed as often as the color collects upon them. They are made by placing cotton within a square of soft linen or silk, bringing the four corners to- gether, and tied. The deer-foot stippler should be cleansed with turpentine, drying it with a cloth, to prevent it from " taking up " the color while blending. It will be found useful in the small interstices of the handles, etc. If you have failed in the first trial do not experiment by try- ing to patch it, but remove the color, and follow the directions more closely. Your second attempt may be successful ; at the same time you are be- coming acquainted with the materials in hand, 79 and the effects of different methods, as applied by yourself. As there is more or less risk in handling- Royal Worcester backgrounds, it is advisable to have them fired first. If they are short-fired — they will come out almost black or smoked — place them back in the bottom of the kiln, give a strong fire, and the discoloration will all disappear. They require the same temperature of heat given to carmines and gold. The bronzes containing more body of color, are liable to chip off with repeated firings, while the matt colors show greater resist- ance against heat — matt coral red is the exception, being a fugitive color will stand only one firing. Royal Worcester backgrounds and colors can be softened by rubbing them carefully with the finest emery cloth — No. oo— which will remove the roughness caused by firing. La Croix colors can be treated in the same manner. Before stenciling the ground tint with tar paste it must be thoroughly dry, to prepare the design for painting, which will be visible through the color. ©ipeetions fop losing dfap p)astc. After laying- on a background, keep it free from dust, and allow it to harden before applying the paste. Use no heat in the drying process. Mix a little of the paste upon your palette until smooth (if it is hard add a few drops of tar oil), and with a small brush cover every part of the design you wish to stencil out with a thin coating of the paste, using care not to go beyond the outlines. This completed, wipe off the paste with small wads of cotton batting (previously prepared), using them only once. If the backgrounds are heavy in tint, add a little clove oil in connection with the tar oil, and apply a heavy coating of the paste — which should stand a few moments before remov- ing. The article is now ready, with the design in white, to be filled in with color. Keep the bottle well corked when not in use. ©ireetions for fixing Relief p^aste, FOR RAISED GOLD. It is very necessary to have the paste thoroughly ground and perfectly free from grit. Calculate the quantity required, then take two parts of fresh tar oil to four parts of paste. With a horn palette- knife mix until the relief is incorporated into a smooth paste, adding very little fresh turpentine, mixing the second time, all of which is improving it. Working directions. — Take a No. i tracer, not too short, as it must hold enough for an extended line, when required. Insert the point underneath the paste, taking it out with a quick, upward motion, causing the paste to remain on the upper side of the brush; the paste is less liable to spread by observing this precaution. To have charged the brush with relief, as you do with color for painting, the round beauty of your outline would be lost. The consistency can be determined by trials only. If it separates, it is too thin ; then spread it upon the tile, allowing the turpentine to evapo- rate. Breathe upon it, but do not add more oil, as it will blister in firing. After a few minutes, 82 mix again and make another trial. If the relief is too solid, add a few drops of turpentine. When in perfect working- condition it will follow the brush in a solid, smooth, unbroken line. Gradu- ated lines are regulated by a slight pressure on the brush at the beginning of the stroke, raising- it slowly and forming a hair-line towards the finish. Do not, in the beginning, attempt complicated designs. Try simple effects. Give clear definition to your strokes, and lengthen them by degrees only as you are able to do it well. Avoid raisin g them too high, or too sharp and irregular. Any hesitancy is plainly visible, taking away the effect desired when finished — that of a gold wire encir- cling the flowers and leaves. All colors must be hard-dry before applying the paste over them. Complete any portion of the work commenced, for the reason, after the paste has become hardened it will not absorb the fresh applications ; and, while it may have every appear- ance of durability, it will scale off in firing. Repairs are always possible ; at the same time, avoid patching when you can. Allow the work to have sufficient time to dry gradually and thoroughly before placing it in the kiln. If it chips off, after firing, you have possibly applied it over an oily surface of color, not per- fectly dry. This is considered to be the principal reason ; yet there arc others. The paste may not have been thoroughly mixed and worked too dry, or the mediums — if not fresh — have made it too 83 fat, causing it to blister and chip in firing ; and if not smoothly ground, the mediums will not reduce it sufficiently. The rough, broken line will come from the kiln more irregular, and portions of it having disappeared entirely. Anticipate these difficulties and guard against them. Remember that paste improves and en- hances the effect and value of gold in decoration, while gold will not hide defects in paste, only making them more apparent. A disposition to practice in laying paste is an advantageous use of time. In putting on layers of paste, one over the other, for modeled effects, the first must dry partially before the next one is applied, and be devoid of all grit, to produce a smooth, even surface, upon which the gold can be placed with safety ; if irregular, you will lose one-half the effect of your gold, which has been absorbed into the paste, and retouching will not remedy it. Pretty results are produced with outline work in small flowers and conventional borders upon the plain ware ; then fill in the design with different colors of gold. Backgrounds treated in this way give a pleasing variety. When an entire decoration is carried out with paste and gold in connection with dark, heavy backgrounds, stencil out the design, and lay the paste direct upon the ware, then give a regular kiln fire ; afterwards matt gold is applied over it solidly, leaving no visible trace of the paste under- neath. Polish with a glass brush. 8 4 Doulton manufacture produces beautiful exam- ples of the raised gold work. Royal Worcester gold decorations are confined more to delicate tracings upon the color, defining the form and veining of the leaves very closely. Relief enamels are treated in the same manner as the paste, differing more in the application to the ware, which consists of laying dots in imitation of jewels. They can be dropped into any size or form ; mix enamels with a horn palette knife, and fire only once. Jewels are fastened to china with either relief paste or enamels, then given the same temperature required for firing glass, which is the clear red glow before reaching "rose color heat." If fired too long, you need not be surprised to find your care- fully-arranged jewels misplaced, and those that are missing secured upon other pieces of china, where they have dropped on reaching the ?nelting point. To avoid these disasters, sketch your design upon the background, making a careful calcula- tion for the size and form of the jewels to be used, then, with tar paste, stencil out the color (do not go beyond the outline) and fire the work. Afterwards, with the aid of cement — the same that is used for repairing china and glass — secure the jewels in place ; after a thorough drying, the permanency and durability of your decoration is assured. DIRECTIONS FOR USING (fhc (Osgood J)ehcol ©old Before attempting the gilding of china, it is im- perative that everything should be scrupulously clean and free from dust. To neglect this pre- caution, the gilding will be irregular, and the effect of the work destroyed. The gold is in the form of brown paste ; when fired, it comes out a light, unglazed, yellow tint, requiring a glass brush to polish it if a matt ap- pearance is desired, or burnished with an agate burnisher for a more brilliant effect. Matt gold grounds can be embellished by chasing upon the surface, with a sharp burnishing tool. Repeated scroll designs produce the best effect for this process of engraving upon gold, which should first be accurately drawn in with India ink, as mistakes are very apparent, and are not easily corrected. Mineral colors in black or red, can also be ap- plied in describing tracings, and lines, upon gold S6 grounds. If they are judieiously used, a very artistie effect will be achieved. Brushes. — The most reliable brushes for gold are the imported French tracers No. i — No. 2 for general work. They become hard when not in use, and should be softened carefully with turpen- tine in a cup, kept expressly for that purpose, as the valuable sediment formed in the bottom, can be removed after the turpentine has evaporated, and used again. Practical Directions. — Place the gold upon a ground-glass slab. Thoroughly incorporate with it very little fat oil and turpentine, using a horn knife for mixing. If too much fat oil is used the gold will blister in firing, while turpentine is gradually added during the entire process of gilding, to keep the gold open and in working condition. Do not load the brush with too much gold, as it will impede the stroke, resulting in an uneven outline, while the right quantity will admit of freedom in working, to produce a solid line. Amateurs are inclined to apply the gold as a wash, which is disappointing in its effect after firing, and can neither be burnished or polished. The exact manner of laying the gold evenly, cannot be perfectly described. Notwithstanding this, it can be successfully accomplished, requiring judgment and delicacy of touch, combined with patience and perseverance. The Stippled Effect of Gold, as seen on Doulton and Japanese wares, can be closely imitated, by 87 using- the skigle-quill Fitch stippler, the sizes depending- upon the work required of them. The process consists of dabbing and blending the gold upon the china, and is quite easy, besides making a choice variety for decoration. It should always be polished with a glass brush, as burnishing cheapens the effect. To Band China with any degree of accuracy, it will be necessary to use a wheel manufactured for the purpose. The disk which holds the ware re- volves upon a pivot, while the brush, dipped in gold, is held firmly over it. The point resting upon the plate in position — to describe circles or bands as the wheel turns. Considerable practice is required to make this difficult process a success. Burnishers come in different sizes ; are straight, round and curved, mounted in brass ferrules, at- tached to wooden handles. Select only those which are absolutely perfect. They are the least expensive in the end. A defective tool will deface the gold, and will require re-gilding. The ware to be burnished should be held with a cloth, and the gold frequently cleansed with magnesia or whiting, to remove the dust and moisture constantly accumulating. The burnisher must be held with a slight pres- sure, working as much as possible in the same direction. It is very necessary to have a piece of leather (tacked over a grooved block), upon which whiting or burnishers' putty has been sprinkled, to polish 38 the tool, as it becomes heated by friction, causing it to slip over the gold. It also facilitates the operation, which consists wholly in removing scratches. When all imperfections have been obliterated, the surface will present a fine, even lustre. Polishing with a spun glass brush, encased in twine, is a more simple process, requiring neither patience nor skill to brush back and forth, giving to the raised effects (if any) a more thorough polishing, to produce a greater degree of brilliancy, and vary the finish of the gold. This process is preferable to burnishing, for Royal Worcester decorations. The imported fine gold work is finished in this manner. Gloves will protect the hands from the particles of glass, which are constantly falling from the brush when in use. The frosted gold surface, so much admired on the Royal Worcester ware, is easily imitated, by first burnishing the gold, then firing the second time. If you have failed in producing a perfect surface, finish with the glass brush, which should never be used near the color box, as the small par- ticles of broken glass cling tenaciously, and develop after firing ; no retouching can remove them. Gold should be fired rose-color heat. If short- fired, it will rub off if any attempt is made to polish it. If fired properly, it will appear a soft matt yellow color, and is very susceptible to the finishing process. 8 9 If fired too much — too hard is the term which expresses it better — it can neither be burnished or polished. Regild and fire again. Amateurs are advised to gild the china for the first firing, retouching it for the second, if neces- sary. Only skilled experience can lay gold evenly, to be finished for one firing. This does not apply to working gold upon color, which must always be fired first. Hard or unfluxed gold is exclusively prepared for over color, as the flux in the color is sufficient for both. Matt or fluxed gold is used for banding china, handles, and general gold decorations, to be ap- plied direct upon the plain surface of the ware. It should also be used over relief paste, and can be applied to the underglaze blue ware, success- fully. Red and green gold can be worked over color, also direct upon the ware. They make beautiful color combinations, with matt gold, for the yellow variety. In case the gold has blistered in firing, from having been laid too heavy in places, or made too rich with fat oil, very carefully remove the rough- ness with the finest quality of emery cloth — No. oo — reduced still finer by rubbing two pieces together, in order not to scratch the remaining gold. This cautiously completed, apply the gold (regular consistency) smoothly over the defects, blending it at the edges. go Your greatest care will not hide repairs, making it necessary to consider every requirement before laying the gold. Try to succeed in getting an even surface, with the first stroke of the brush, and not go back to retouch it. Liquid gold, although less expensive, often proves to be more costly in the end. It should never be used over Royal Worcester, spreading, as it will, upon these absorbent, soft colors. In the hands of decorators, in factories, where a cheap grade of gilding is required, good effects are very creditably produced, owing to their pro- fessional skill ; while with amateurs, more or less uncertain, and experimenting, besides not using proper care to remove errors (which should always be done with soap and water), are greatly surprised to find their china disfigured with unsightly spots of purple— after firing — which can only be re- moved with acid. When several pieces , decorated with liquid gold are fired, the steam, which arises, often endangers the brilliancy of the colors, and greatly reduces the chances for glazing them. The mediums for this gold must be very carefully added, or it will come from the kiln resembling crackled copper. Retouching at this stage will not restore it. If the burnished gold is polished when first taken from the kiln (even while hot), it will more readily yield to the burnisher, or the glass brush, producing a higher lustre when completed. Gold must be free from moisture before firingj and do not wrap it in cotton, when it can be 9i avoided, as it roughens the surface. When it is hard dry, it can be handled same as dry colors, on china. Waxed paper is a better substitute. The Hungarian and Vienna ware, Royal Wor- cester, and Doulton, are all rich in gold decora- tions, and are fine examples, offering many sug- gestions for combining gold with color, as applied by the skilled designers and decorators of those manufactories. f@ish. The similarity of treatment for all fish would necessitate constant repetition if details were en- tered into for each particular plate ; and, to avoid this, No. i will be carefully explained, and the different stages of painting can be practically adapted to the others — the only change will be in the variety of colors used, as the species of fish may suggest. The process is systematic in the extreme, begin- ning with : 1. — Washing in of the foundation colors, using the stippler to soften the effect. 2. — Shading and modeling with the stippler. 3. — Glazing the colors underneath with tints that will produce an even, high gloss after firing, rendering transparency to the work — absolutely necessary in fish painting. Make a thorough study of your subject, observe the different character- istics of the fish, and see that your drawing is correct in every particular. The non-absorbent surface of the china adds to the difficulty of fish painting, and to avoid the 93 washing- up of the tints, . as the different layers of colors are applied, each application must be quickly laid on. Do not overcharge your brush with color too moist ; and, above all, do not hesitate and go back to repeat the work, but persevere to the end, then consider the result. If the white china has asser- ted itself, the most expeditious way to get rid of it is, by removing the remaining color and begin again, unless you are an expert at stippling. To patch, by laying on color, is seldom, if ever satis- factory. When the washes can be applied broad and flat, use a square shader, that will cover the surface evenly. With a steady sweep, you can regulate the quantity of color in the brush, and also ascer- tain whether you have the tint desired, by repeated strokes upon the palette. The colors prepared, brushes cleaned, a perfect freedom from dust, and we are now ready to begin with the work in hand. No. i. [^uteriaU and ©olors l^eqiiipei) for f®Uh Painting. Materials. — Bottle of tinting- and painting oil ; clove oil ; fat oil ; turpentine ; tar paste ; and tar oil for relief paste. Brushes. — Grounding brush ; two square shaders; two round shaders ; two stipplers — Nos. 5 and 6 ; three tracers — Nos. 1, 2 and 3. Colors. — Relief paste ; Aufsetzweis ; ivory black ; gray, Nos. 1 and 2 ; neutral gray ; car- mine No. 1 ; victoria blue ; brown-green No. 6 ; deep chrome green ; dark green No. 7, brown No. 4 ; yellow-brown ; ivory yellow ; jonquil yel- low ; yellow ochre ; violet of iron. The design of this set in china, is called the " claudia " — well-adapted for fish and game. The band and line are raised upon the ware, while the grasses which surround the plate are depressions, making it very easy to follow with gold. Treatment for No 1. — First cover the surface with a thin wash of turpentine ; when dry, make a careful outline drawing of the fish, weeds, etc., with India ink — it is less liable to rub off, in case of corrections — and they should all be made, be- fore applying the background, which is gray No. 1, adding one -fourth flux (all grays require this pro- 9 6 portion to flux them) ; then pounce it evenly. The design is now clearly visible through the tint ; cover it with tar paste ; after a few moments, remove it with a quick, upward stroke, using small wads of cotton, and changing them often. The spaces left in white are ready for the first painting. The mediums arc equal proportions of clove oil, and fat oil, well mixed, and incorporated thor- oughly with the colors, which are diluted with turpentine, into working condition, using just enough to have them flow smoothly. Professional decorators will finish the work, all for one firing, unless paste and gold are used, then two firings are always required. Amateurs arc not expected to accomplish as much, while it is advisable to complete the painting as far as pos- sible for the first firing. The foundation color, for the upper part of the fish, is a combination of two parts of sky blue to one part of neutral gray, thoroughly mixed. Flatten the brush upon the palette ; take up the color, keeping it on the underside of the brush, and lay on the tint, full strength, beginning at the tail, and widening the stroke, as you approach the head, blending and losing the color as you reach the center, towards the lower part of the body, and leaving the white china to supply the lights. This produces a silver gray local color, and its graduated tints are stippled with a small fitch-hair stippler into roundness — not by force, but blended and modeled delicately. The transparency, light, 97 and shade, all depends upon the intelligent ma- nipulation of the stippler. It is, indeed, the critical turning point of the entire process. If you do not succeed in giving form to the fish, and your work looks flat, rub it out, and repeat the painting ; as there is a likeness of a fish to be secured, you must, at least, obtain some resem- lance to it. The upper fins, and tail, are laid in with equal proportions of brown No. 4 and neutral gray, and, when dry, shaded with two parts of ivory black, thoroughly mixed with one part of brown No. 4. Fins next to the gills are covered with a delicate wash of brown No. 4 and shaded with the same. Lower Fins. — Carnation No. 1, adding a very little ochre to it, to soften the tone ; when dry, shade with one part of carnation No. 1, and two parts of brown No. 4. Model the fins with this shading tint, by laying it on in broken strokes. Outline the upper part of the fish, mouth, eyes and the gills, also the irregular line, extending from the head to the tail, with ivory black. When thoroughly dry, outline the lower part of the body, and indicate the scales, with gray No. 1, modifying the strength, as you approach the lights below, with the same color ; add touches around the eyes and mouth, and put in the eye with ivory black and a little sky blue added. Take out the color around the eyes and gills, and on the line of the mouth, and lay in a thin wash of carnation No. 1. The markings are ivory black. 9 8 Center of the shell — apple green, blended into violet of iron, and neutral gray, towards the out- side edge ; on the turned edge, use neutral gray and sky blue mixed ; shaded with brown No. 4. The lighest effect of the sea-weeds are yellow ochre and violet of iron, shaded with brown No. 4 ; cover the net with relief paste, and it is now ready for the first strong firing. Second Painting. Follow the upper outline of the back with a thin wash of ivory black, beginning at the head, and narrowing the stroke towards the tail ; adjoining this, place another row of the same color, diluted into delicacy ; the third row below this — about the center of the fish — is washed in thinly, with gray No. 1, which forms the shading tint for the white, and extends almost over the lower part of body, leaving the china for the lights. Stipple and model very carefully these tints into delicacy , and fire the second time. The last painting consists of gin zing, and re- touching. Cover the upper part with deep chrome green, softened towards the center with the brush ; over this a quick, transparent wash of brown No. 4, to strengthen the shading, and also to complete the rounding of the fish. Stipple evenly into smoothness, and, when thoroughly dry, go over the entire upper part with sky blue, very thinly laid on, and softened towards the center with yel- low ochre. 99 The same color to be applied, on the fins, tail, and around the eyes. Shade the mouth with brown No. 4 ; strengthen the scales with gray No. 1, and the dark touches, or markings, with ivory black. This may seem very difficult, and it is, unless you keep your washes diluted, so that they will flow freely from the brush, for quick, rapid strokes. Then, again, if you have them too thin, they will infringe upon the other colors. Experi- ment upon your tile, and while you may expect a reasonable amount of success in the beginning, you cannot master the over-laying of moist colors successfully without first giving them repeated trials. It is worth the effort, as it is the only way by which the rich, transparent depth of coloring- can be secured, for fish, fruit, flowers, etc. To complete the Painting. — Lay on touches of Aufsetzweis enamel for the high lights on the scales and body, and a dot on the eye — do not make them too prominent. The high light on the shell , and the water lines, are hard gold. Cover the relief paste, and edge the plate, band, line, and indentations, with matt gold ; regular kiln fire. This treatment for gold and enamel will apply to the entire set, and will not be repeated. Polish the gold with a glass brush. IOO No. 2. 101 (fpeatment for 9 Pk>. 2. No. 2. — Background — celadon gray. Follow the directions given for No. i, throughout the entire set, when the treatment for fish is not mentioned. Upper part of shell — victoria blue, with a touch of ruby purple, graduated into brown-green No. 6, and jonquil yellow at the bottom ; shaded with brown No. 4 ; dark grasses — violet of iron ; heavy weeds, showing dark in the study, are relief paste. 1<)2 No. 3. 103 fVecrtment for P\o. 5. No. 3. — Background — pearl gray, one-fourth flux! Shell. — Foundation — yellow ochre, with a touch of brown No. 4 added ; the inside of shell — violet of iron, and shaded with brown Xo. 4 and dark green No. 7. Dark Weeds — brown No. 4 and violet of iron. Liodit effects — brown srreen No. 6 and violet of iron. Hook and line are relief paste. No. 4. 105 Cpeatment fci 9 P\o. 4. No. 4. — Background — pearl gray, with the ad- dition of a little brown-green No. 6. Shell. — Carmine No. i, and sky blue, blended into brown-green No. 6, and yellow ochre, producing an iridescent effect ; shaded delicately, with brown- green No. 6, and brown No. 4, mixed. Upper Grasses. — Foundation — yellow ochre and brown-green No. 6 ; shadows— yellow ochre and violet of iron. The stem, and strong touches, are violet of iron. Weeds, growing out of the shell, are laid in with relief paste. No. 5. fo7 Cpcafment foi 9 P\c. § No. 5 . — Background — a combination of blue- green, apple green, and yellow ochre ; one-third flux. Shell. — Foundation — yellow ochre, a dding brown No. 4 for shading ; center — violet of iron, laid on very delicately, towards the outside edge, and shaded with neutral gray ; upper weeds — carna- tion No. i ; use violet of iron for shading. Dark Weeds. — Olive green, and brown No. 4, shading witn brown No. 4. Weeds above the Shell. — Brown-green No. 6 and violet of iron ; those growing out of the shell and extending over the head of the fish, and under it, is laid in with relief paste. ioS No. 6. log ipds and i§wallove>s. BLUE-TAILED SYLPH. Head — dark green No. 7, worked into chrome green B. Neck — apple green and mixing yellow, strength- ened into chrome green and brown-green, for the darker tones. Below the bill — victoria blue and light violet of gold. Wings — brown No. 4 and neutral gray for the foundation, and shaded with brown No. 4, full strength. The feather markings and outlines are laid in with the same. Tail — victoria blue and light violet of gold, shaded with deep violet of gold, and touched with apple green and carmine No. 2. Take out the color for the light near the eye. Bill and eyes — outlined with black and colored with neutral gray. Cut out the lights on the upper part of the wing feathers, and fill them in with silver yellow. 135 Feet — outlined with black and colored with neutral gray and yellow ochre. CRIMSON TOPAZ. Neck — ruby purple ; upper part of the back and head, violet of gold, mixed with victoria blue, shaded with two parts of victoria blue, one-half of ivory black, and one part of ruby purple. Wings— 'deep chrome green for the tips, adding mixing yellow for the upper part, shaded with brown-green and dark green No. 7, with touches of yellow-brown here and there. Tail — dark green No. 7, using victoria blue over it for touches. Bill — outlined with ivory black, colored with neutral gray and sky blue. Eyes treated in the same manner. KING HUMMING BIRD. Head and two long tail feathers are violet of gold and victoria blue. Back — sepia, shaded with brown No. 4. Neck, under the bill — apple green and mixing yellow, shaded with chrome green B and brown- green No. 6, touched with dark green No. 7. Breast — capucine red, strengthened with deep red-brown for shadows. Tail — yellow ochre, shading with sepia, adding very little deep red-brown. 136 Top of the wings — yellow ochre, with shadows of brown-green No. 6 ; lower part and tips, violet of gold, shaded with ruby purple and dark green No. 7, adding touches of victoria blue. Eyes and bill — outlined with ivory black ; col- ored with neutral gray and sky blue. Feet — yellow ochre and neutral gray, outlined with black. MEXICAN STAR. Head and back — silver yellow, worked into apple green and shaded with brown-green and yellow ochre. Second shading — dark green No. 7 and chrome green B ; the star feathers radiating from the head, near the eyes — ruby purple, shaded with same, full strength ; below the eyes — victoria blue ; below the bill — clear ruby purple, shaded with the same. Tail — chrome green and dark green No. 7, shaded with dark green. Breast — White, shaded with neutral gray and sky blue, with touches of yellow ochre and brown No. 4 for dark shadows. Tip of the wings — yellow ochre and brown No 4 ; shadows — brown No. 4. Eyes and bill — outlined with black and colored with neutral gray and sky blue. 137 Feet — yellow ochre, shaded with brown No. 4, and outlined with black ; high lights on the breast and eyes — enamel white. VERVAIN. Head — grass green mixed with mixing yellow ; back — blue-green, delicately worked into grass green and silver yellow ; shading with blue-green and brown-green No. 6; dark shadows — blue-green and dark green No. 7 ; darkest touches — brown Xo. 4. Wings — yellow ochre and brown No. 4, shaded with the same. Tail — yellow ochre ; shadows — sepia and car- nation No. 1 ; dark shading — brown No. 4 and violet of iron. Neck — Same as the back, adding touches of deep blue-green. Breast — white ; first shading — sky blue and neutral gray ; second shading — yellow ochre and neutral gray, finishing with yellow ochre and brown No. 4. Bill and eyes — outlined with ivory black and colored with neutual gray and sky blue. Feet — yellow ochre and neutral gray, outlined with black ; high lights — reserved and touched up with enamel white. 138 ROFOUS SWALLOWS. Above and below the bill — foundation — carna- tion No. 2, shaded with carnation No. 3 ; deepened with violet of iron. Back — a mixture of deep blue-green and neutral gray, shaded with neutral gray and victoria blue, adding dark green No. 7 for darker shadows. The wings and tail — neutral gray and yellow ochre, outlined with brown No. 4, touches here and there with blue-green. Upper part of the breast — blue green, shaded with dark green No. 7. Breast — foundation — neutral gray and sky blue ; second shading — neutral gray and yellow ochre. Bill and eyes — outlined with black, and colored with neutral gray and sky blue. Feet — outlined with black and colored with neu- tral gray. WHITE-BREASTED SWALLOW. Head and back — a mixture of victoria blue and neutral gray, shaded with victoria blue and ivory black. Wings —neutral gray, shaded with the same, adding touches of yellow ochre and violet of iron ; tail treated in the same manner. 139 The white china is substituted for the lights on the breast ; shadows — neutral gray and sky blue, adding delicate touches of yellow ochre and brown No. 4, to soften the foundation shadow color. Feet — outlined with black and colored with neutral gray. Eyes and bill — neutral gray and sky blue, out- lined with ivory black. Same Is one of the most difficult branches of china painting, as so much depends upon the careful manipulation of the brush to give form and natu- ralness to the subject. It is almost impossible to describe minutely the characteristic finishing that, good drawing produces on feathers and fur, so as to avoid all appearance of having been over- worked. Copy from nature when you can, and, in con- nection with the general treatment given in this chapter on coloring, you will be able to master the difficulties in time. When it is possible, lay in the dark shadow colors first, reserving the high lights ; apply them with a broad, flat brush which has first been dipped into tinting oil, then add a little turpentine, afterwards taking up the color on the under side of the brush, which is now ready for the painting. PARTRIDGE. Foundation color — brown No. 108, blended into carnation No. r for the head and upper part of the body. 141 Over the breast, wings, and tail, lay in a thin wash of yellow ochre, leaving the white china for the lights. While the colors are moist, stipple them evenly. First Painting. — Outline the bill, eyes, wing, and tail feathers, also the feet and legs, with ivory black. When dry, fill in the wings, eyes, and tail with a delicate wash of violet of iron and yellow ochre, shading with the same, full strength. The bill, feet, and legs are washed in with neutral gray, and shaded with the same. Feather markings on the body are outlined with ivory black and filled in with a delicate wash of brown No. 4 and violet of iron. Shade the upper part of the back with brown No. 4, strengthened with ivory black. Eyes — ivory back, with a little blue added. Shade the breast with neutral gray, adding touches of yellow ochre ; breast next to the bill, which is white, is shaded with gray No. 1, extend- ing the same color to the lower part to tone down the white. Feather markings can be indicated by the deli- cate manipulation of the brush, and taking out the lights on the feather tips with the erasing pin. Avoid stiffness in cutting out the lights. Foreground. — Foundation — yellow ochre with brown-green No. 6 ; foliage — yellow ochre and grass green, shaded with brown-green No. 6, 142 SNIPE. Lay in the shadow colors on the back, head, and wings, with ivoiy black and brown No. 4. Over this a delicate wash of dark green No. 7 and yellow ochre, beginning with the head, ex- tending the color over the body, reserving the lights and losing the tint towards the lower part of the breast, which is light gray No. r. While moist, stipple and model the colors into roundness. Outline the bill, eyes, wings, tail, legs and feet with ivory black. Coloring on the bill — orange yellow ; on the legs — deep chrome green. Second Painting. — Strengthen the shadows on the head and back with the ivory black and brown No. 4, delicately. Breast and wings are shaded with dark green No. 7, worked in with brown No. 4 ; outline the lower part of the body with light gray No. 1, and soften the shadows on the breast with touches of yellow ochre. Take out the lights with the erasing pin and indicate the feather markings with the shadow colors. Water in Shadow. — Foundation — one part of neutral gray to three parts of sky blue ; shadows — dark green No. 7 and yellow ochre, glazed with deep chrome green and sky blue ; cut out the lights. Grasses — a combination of mixing yellow and grass green for the light effects. M3 Dark Grasses — emerald green and brown-green No. 6, shaded with dark green No. 7. Distant Grasses — yellow-brown and grass green, shaded with brown-green. Sky. — Upper part — sky blue and turquoise blue, blended into yellow ochre and ivory yellow. Take out the lights and use enamel white for accentu- ated effects. QUAIL. Foundation — yellow-brown, mixed with brown No. 3 — equal proportions — and laid on, full strength, for the upper part of the back, extend- ing over the head, and graduated delicately down towards the center of the body with yellow-brown, adding very little brown No. 4 ; shading the breast and under part of the body with light gray No. 1, with delicate touches of yellow-brown here and there, saving the china for the lights. A touch of carnation No. 1 next to the eye, and blended into brown No. 3 towards the neck ; while the colors are moist soften them with the blender. Outline the bill, legs, and feet, with ivory black ; when dry, color them with neutral gray and brown-green No. 6. Outline the eye with black ; pupils — ivory black, with a touch of blue added. Feather markings — ivory black. The wings and center body-feathers are laid in with light gray No. 1, shaded with neutral gray, and with soft touches of yellow ochre. 144 The radiating lines, starting from the quills on the wings and body, are ivory black. These feather markings must not be too strong or regular. When dry, cut out the lights. Band on neck — ivory black ; strengthen the shadow colors with corresponding tints ; use Aufsetzweis for the highest lights. Sky — turquoise blue, blended down into ivory yellow, yellow ochre, and carnation No. i ; warm gray for distant foliage and mountains. Foreground — yellow ochre, worked in with violet of iron, grass green, and mixing yellow, shaded with neutral gray. CANVAS-BACK DUCK. Brown No. 3 and violet of iron for the founda- tion color, laid over the body very delicately. Over this tint, on the head, neck, and breast, a thin wash of yellow ochre is applied ; a touch of sky blue next to the eye. First Shading — Neutral gray and sky blue, worked into ivory black, for the dark shadows. While moist, stipple the colors and model them into form. Outline the eyes, bill, wings, tail, legs, and feet with ivory black, using neutral gray and ivory black for coloring. When dry, cut out the lights on the neck, bill, and breast ; lay over the shadow color a thin wash of dark green No. 7, to tone down the brown, also to glaze it ; add touches here and there with yel- low ochre and deep chrome green. 145 Pupil of the eye — ivory black ; iris — orange yellow, shaded with brown-green No. 6. The Ugliest feather marks are brown No. 4 and neutral gray ; medium in color — brown No. 4 and ivory black ; darkest — ivory black. Add touches of deep chrome green and neutral gray for the lights on the bill and legs ; Aufsetz- weis enamel for high lights on the body, eyes, etc. WILD DUCK. Head — deep chrome green ; shading — dark green No. 7 ; breast — carnation No. 1, shading with deep red-brown. Back — brown No. 3, shaded with brown No. 4 ; wings are outlined in black and colored with dark green No. 7. Tip of the wings — brown No. 3 ; above this, two bands of white feathers, with a row of dark blue, shaded with ivory black, between them. Brown No. 3 connects the wings to the body color, and shaded with brown No. 4 ; lower part of the breast has a thin wash of pearl gray, shaded with neutral gray and brown No. 4. Bill outlined with ivory black and colored with orange yellow, shaded with brown-green. Legs and feet — outlined with black and filled in with carnation No. 1, shaded with violet of iron ; markings on the feathers — ivory black and and brown No. 4 ; reserve the white band around the neck. 146 Touches of deep chrome green, yellow ochre, and yellow-brown are applied for glazing and softening the tints. Foreground — a mixture of yellow ochre and neutral gray, shaded with neutral gray and dark green No. 7. Grasses — grass green and mixing yellow ; shad- ing tint — brown green and dark green No. 7. Distant Grasses — grass green, yellow-brown and mixing yellow, shaded with brown-green. Water — a combination of sky blue and neutral gray, shaded with apple green and carmine No. 2, with touches of turquoise blue and chrome green used separately. ENGLISH PHEASANT. Head — deep blue, shaded with ruby purple and dark blue ; spot near the eye — carnation No. 1 ; bill — outlined with brown No. 4 and colored with gray No. 2 ; eyes — outlined with black and shaded with neutral gray. Back — sepia, shaded down into deep red-brown and carnation No. 2 for the lower part of the body. Wings and tail feathers — brown No. 4, shaded with neutral gray ; dark markings — brown No. 4 and ruby purple ; cut out the lights with the erasing-pin and lay over them a delicate wash of yellow-brown. Legs and feet — sepia, shaded with brown No. 4 ; cut out the white on the neck, also the white 147 feathers on the top of the wings, substituting the china for the lights. WILD TURKEY. Dark green No. 7 and ivory black for the shad- ows on the back, including the wings and neck, diluting the color for the breast and lower part of the body. Tip of the wings — yellow ochre ; tip of the tail — violet of iron and yellow ochre, extending the color to the middle of the back. Head — a foundation of carnation No. r, deli- cately applied ; lower part, towards the neck — victoria blue, shaded with victoria blue, ruby purple, and carnation No. 1, mixed. Second Painting. — Outline the bill, eyes, wings, tail and feather markings with ivory black ; also, the black bands on the tail, with the same color. Legs and feet — sepia, shaded with brown No. 4. RABBITS. Brown No. 4 and ivory black on the back, blended into neutral gray and brown No. 4 on the lower part of the body ; cut out the lights and stipple smoothly ; breast and mouth — shaded with light gray No. 1. Second Painting. — Outline the eyes, nostril, and feet with ivory black ; when the foundation colors are thoroughly dry, lay over them a very delicate wash of three parts of brown No. 108, with one part of brown No. 4, mixed. 148 Define the fur marking's — use a fine brush, with brown No. 4, and strengthen the shadows with the foundation colors. When the colors incline to a gray, use brown No. 108 and neutral gray for the foundation, with touches of violet of iron on the dark shadows, and yellow ochre for the lighter effects. Eyes — deep red brown ; cut out the touches of white on the nostril and ears, shade with neutral gray, very delicately. Foreground — brown-green and yellow ochre, worked into neutral gray and violet of iron. Grasses — grass green, worked with mixing yel- low, shading with brown-green No. 6, dark green No. 7, and yellow ochre. Distant foliage — warm gray; sky — turquoise blue, blended down into ivory yellow and yellow ochre, very delicately. SQUIRREL. Foundation —brown No. 4 and ivory black, shaded with the same, full strength, adding a touch of deep red-brown with it, to obtain the reddish cast to the fur. Cut out the lights and stipple the colors smoothly. The neck and lower part of the body shaded in with light gray No. 1 and a little yellow ochre added. Second Painting. — Outline the eyes, nostril, and feet with ivory black. When the foundation 149 colors are dry, lay over them a delicate wash of brown No. 3 and yellow ochre, over the entire body, adding touches of violet of iron for the darkest shadows. Eyes — shaded with neutral gray and yellow ochre. GRAY SQUIRREL. Foundation — brown No. 4 and ivory black, shading the upper part of the back with the same, full strength. Second Painting. — Outline the nostril, eyes, and feet with ivory black. When the foundation colors are dry, a delicate wash of three parts of neutral gray with one part of yellow ochre, over the entire body excepting the breast and lights, which are cut out with the erasing-pin or scraper ; strengthen the shading with brown No. 4 ; add touches of white on the breast and eyes with Aufsetzweis. Tree Trunk. — Foundation — neutral gray, mixed with a little yellow ochre, shading with brown No. 4 and dark green No. 7. Colors for Foliage. — Grass green, mixing yellow, yellow-brown, brown-green No. 6, and dark green No. 7. DEER. Foundation — to one part of ivory black add three parts of brown No. 4, beginning with full strength on the back and extending it delicately over the entire body, saving the lights ; stipple and model smoothly. £5o When perfectly dry — lay over the shadow color a delicate wash of brown No. 3 and yellow-brown, diluting the tints for the lights, which must be laid smoothly without the aid of the blender, Leaving the lights next to the nostrils, on the ears, neck, and lower part of the breast. Outline and shade the breast with light gray No. 1. The horns, nostrils, and hoofs, with ivory black ; the horns are colored with sky blue and neutral gray, worked in with yellow ochre. Hoofs — ivory black. Ready for the first firing. Second Painting . — Strengthen the shading by using the same colors ; glaze the rest of the body with yellow-brown, with a few touches of brown No. 4 ; eyes outlined with ivory black, and shaded with neutral gray and sky blue. ©ceopation for ^)gg which greatly facilitates painting with powdered colors. The list comprises every combination required to reproduce the soft, rich coloring of Worcester, Doulton, and Derby decorations. They are readily adapted to all kinds of ware, and are fired at the same degree of heat as glaze colors. They will stand repeated firing, provided the heat does not exceed " rose-color." Matt colors are rich, deep in tone, and fire without a glaze, while bronze colors are semi-glazed, producing the metallic effect of Doulton decorations. They are all to be mixed with fat oil and turpentine, and applied in the same manner as La Croix colors. 203 H-IvIST OF THE -H- Osgood ^rt S ebo ° l Royal Worcester Powder Colors. PREPARED AND GROUND EXTRA FINE. Put up in Vials. price. White. ♦Matt White : $o 30 Black. ♦Matt Black 30 Gray. ♦Matt Neutral Gray , 30 ♦Matt Warm Gray 30 Pink. ♦Matt Pink 40 Reds. ♦Matt Flesh Red 40 Matt Brick Red 40 ♦Matt Dry Red 40 Purple. ♦Matt Purple 50 Violet. Matt Violet 50 204 Blues. -Matt Light Blue $o 30 Matt Turquoise Blue s 30 Matt Paris Blue 50 Matt Deep Blue 30 Greens. * Matt Olive Green 30 *Matt Blue-Green 30 *Matt Dark Gresn 30 *Matt Light Yellow-Green 30 Browns. *Matt Yellow-Brown 30 x *Matt Brown 30 Yellows. *Matt Lemon Yellow 30 *Matt Gold Yellow 30 Relief. -Gold Relief Paste 30 ;:: Necessary colors for small list including- Bronze Colors marked * page 205. m OSGOOD ART SCHOOL Special (3rounbino Colors. — ^ — *Royal Worcester Cream $0 30 *Royal Worcester Ivory Vellum, Nos. 1 and 2 30 fflATt BR0NZE. 205 WATT BR0NZE. Semi-Glazed. GROUND EXTRA FINE PUT UP IN VIALS. PRICE. *Matt Bronze Pink $0 40 Matt Bronze Salmon. ... 30 *Matt Bronze Lavender 50 Matt Bronze Terra Cotta, Nos. 1 and 2 .... 30 Matt Bronze Celeste 30 Matt Bronze Brown 30 *Matt Bronze Green, Nos. 1 and 2 30 Matt Bronze Water Green 30 *Matt Bronze Celadon 30 *Matt Bronze Yellow. 30 *Matt Bronze Orange 30 Matt Bronze Golden Buff 30 Matt Bronze Coral Red 40 206 SUPERIOR Relief Enamel Color^. Finely Ground for China— in imitation of Jewels. To be mixed with Fat Oil and Turpentine. Put up in Vials. Price, 30 cents each. Relief White, Turquoise Blue, Light Yellow, Light Deep " Deep " Lemon " Dark Light Orange Yellow, Purple, Orange, Light Purple, Light Green, Medium " Medium 11 Rose, Dark Light Red, Deep " Dark " Apple " Yellow Brown, Blue Brown, Deep Blue Green, Dark Brown, Opaque " Extra Deep Brown Turquoise 1 ' Pearl Gray, Light Turquoise, Black, Deep Crackled White Opaque " 207 OSGOOD ART SCHOOL special Preparations. FINELY FREPflREb TINTINQ OIL, To thin Matt and Glaze Colors for Grounding and Painting. OUNCE BOTTLE, 30 CENTS. ? T is quite important that all Mediums for china painting should be of the very best quality, and prepared with judgment, to obtain the proper consistency for working the colors smoothly. Particularly will this apply to ground- laying, where several mediums are required, and the quantity restricted to an exact proportion of each. Amateur decorators of china can testify to discouraging experiences, and, withal, have not succeeded to their entire satisfaction. To those, and all others interested in china painting, would we recommend our finely prepared Tinting and Painting Oil, guaranteed to work equally well with all ceramic colors. 2o8 For Removing Color from Tinted Grounds. Does its work quickly, leaving the design in white for painting, with full directions. Half-ounce Bottle, '25 Cents. by Mail, postpaid, 30 cents. 209 White. Relief White (Aufsetzweis) per vial, 30c. Yellows. Egg Yellow per tube, 25c. Lemon Yellow . " 25c. Canary Yellow " 25c. Relief Yellow " 25c. Ivory Yellow " 25c. Albert Yellow " 70c. Greens. Yellow-Green per tube, 30c. Blue-Green " 40c. Dark Green 44 30c. Shading Green " 30c. Olive Green " 30c. Grass Green . . " 30c. Turquoise Green " 60c. Black-Green " 30c. Blues. Air Blue per tube, 35c. Dark Blue " 45c. Carmine Blue " 65c. Turquois Blue " 60c. 2IO Light Blue per tube, 30c. Banding Blue " 25c. Pinks and Purples. Rose Purple per tube, 45c. Carmine Purple " 70c. Deep Purple. " 75c. Deep Violet " 75c. Blue Violet " 40c. Rose (Rosa) " 40c. Browns. Chocolate Brown per tube, 30c. Finishing Brown " 30c. Sepia Brown " 25c. Yellow-Brown " 25c. Dark Brown " 25c. Chestnut Brown " 30c. Grays. Gray, for Flowers per tube, 30c. Gray, for Flesh " 30c. Reds. Yellow-Red per tube, 25c. Pompadour Red " 25c. Pompadour Red, Superior " 35c Brown-Red " 25c. Flesh Red.... " 25c. Blacks. Brunswick Black (Braunschweigschwarz) per tube, 70c. Outlining Black (Schriftschwarz) " 30c. Flux. Flux (Fluss) . , .per tube, 25c.