is 
 
 PRACTICAL HINTS 
 
 ON 
 
 H?W DECORWNS 
 
 •BY 
 
 A. B. COBDEN. 
 
 ^^^^^^ 
 
PRACTICAL HINTS 
 
 -ON- 
 
 CHINA PAINTING, 
 
 BY 
 
 A. B. COBDBN, 
 
 MANUFACTURER AND DEALER IN 
 
 AATERIflLS FOR PAINTING ON CHINA, 
 
 FIRING and GILDING for AMATUERS a Specialty 
 
 Store, 33 N. 16th Street, above Filbert. 
 
 Studio, 15 South 16th Street. 
 
Press of 
 
 COMEGYS& BRO. 
 
 13 N. 13th St. 
 
T beg leave to thank my patrons for past favors, and 
 ■*• ask to assure them that I will endeavor to merit 
 their patronage in the future. 
 
 Many of them fi equently urge me to write a book on 
 China Painting, but my time is too fully occupied to do 
 so. To show my appreciation of their kind encourage- 
 ment, I offer a few hints in this little book, hoping they 
 maybe the means of smoothing difficulties and simplify- 
 ing methods to my numerous pupils and friends. 
 Yours, Respectfully, 
 
 Albert B, Cobden, 
 
 Instructions given at Studio, 
 
 15 South 16thi Street. 
 
 Firing and Gilding for Amateurs a Specialty. 
 
 Every possible care is guaranteed, but responsibility 
 cannot bs assumed for breakage in firing or by damage 
 in transportation. 
 
 A fine assortment of White China in English, French 
 and German, and all painting materials constantly on 
 hand. 
 
 All orders from persons unknown to us, must be ac- 
 companied by a remittance or satisfactory reference. 
 
 Express orders receive prompt attention. 
 
 No charge for re acking 
 
 This book may be had on application at 
 
 33 floitth 16th Sttffeet, Philadelphia. 
 
INTRODUCTORY. 
 
 China Painting is a beautiful art, worthy of serious 
 study. Many persons are of the opinion that no particu- 
 lar study is requisite — but as the touch and material are 
 entirely different from those of oil, or water color paint- 
 ing, it is only natural to suppose that a special study is 
 required in order to avoid some of the many difficulties 
 that are encountered in pursuing this art 
 
 It is true that china painting is somewhat conven- 
 tional, and may not offer the same facilities for the truth- 
 ful rendering of nature as oil or water color painting, 
 but beautiful coloring may be executed on china of such 
 transparency and durability as will compensate for other 
 deficiencies. 
 
 MATERIALS. 
 
 The use of powder colors is strongly recommended, 
 as the success of the work largely depends on the condi- 
 tion of the colors. 
 
 These should be thoroughly ground with a moderate 
 quantity of Fat Oil and enough Turpentine to make the 
 color run or flow. When you have ground it breathe on 
 it sufficiently to prevent it from flowing and put it in the 
 smallest compass you can on the palette, -.s it will keep 
 in condition longer by so doing. Do not mix the color 
 more than you can help, after breathing on it, as this 
 allows the moisture from the breath to evaporate and the 
 color will return to its running state. This condition of 
 the color is a great annoyance to the painter. 
 
It is very important to breathe on your color, for the 
 moisture from the breath prevents it from flowing. If 
 the color flows on the palette, it will likewise flow on the 
 china, and will settle on par icles of dust or lint that may 
 be on your china or in the colors, and when fired your 
 work will be covered with spots of paint which will give 
 it a woolly or rough appearance. The tube colors have too 
 much fat oil in them and attract the dust partich s when 
 a heavy coat of color is required. Of course powder color 
 will do the same thing if too much fat oil be used. But 
 in the latter colors you can always regulate the amount 
 of oil and less trouble fiom dust is experienced. If you 
 want to put on a thin wash of color you can add a little 
 more oil with your brush and your color will not flow, as 
 it is put on thin. 
 
 It is generally thought that colors of different manu- 
 factures should not be mixed. If the colors are good no 
 trouble will be experierced by mixing them. If you find 
 the tube colors too oily, mix a little powder color with 
 them — yellow with yellow, blue with blue, rose with car- 
 mine, etc., using turpentine only to thin them. If you 
 cannot prevent them from running flat on the palette ycu 
 may know there is still too much oil in them. Add a 
 little more powder, not forgetting to breathe on it after 
 you have mixed it thoroughly. 
 
 It is unnecessary to use many colors, as they can be 
 mixed with almost the same freedom as water colors, with 
 the exception of red and yellow. It is advisable not to 
 use too much yellow, as it destroys the red. 
 
 5 
 
It would be well to make a trial plate, by mixing the 
 various colors from the following palette, which is about 
 all that is necessary for general work. 
 
 3WDER Colors. 
 
 
 Tube Colors. 
 
 Rose 
 
 or 
 
 Carmine. 
 
 Ruby 
 
 or 
 
 Ruby Purple. 
 
 Yellow 
 
 or 
 
 Mixing Yellow. 
 
 Orange 
 
 or 
 
 Yellow Ochre. 
 
 Light Brown 
 
 or 
 
 Brown No. ic8. 
 
 Red 
 
 or 
 
 Capucine Red. 
 
 Apple Green 
 
 or 
 
 Apple Green. 
 
 Florence Green 
 
 or 
 
 Chrome Green. 
 
 Brown Green 
 
 or 
 
 Brown Green, 
 
 Dark Blue 
 
 or 
 
 Deep Ultra Marine Blue. 
 
 Celesiial Blue 
 
 or 
 
 Light Blue. 
 
 Black 
 
 or 
 
 Black. 
 
 White Enamel 
 
 or 
 
 Permanent White. 
 
 From the list of colors mentioned, you can produce 
 almost any color necessary for painting. For instance, 
 from the two greens, orange and yellow, you can make 
 a great variety of greens by mixing different proportions. 
 Florence green being a strong color must be used very 
 sparingly. 
 
 Orange is a useful color. It gives warmth to green 
 For grayish green add a little blue or rose color. Shadow 
 for green can be made with brown and green, or brown 
 green, adding blue if a cooler tone, is required. 
 
 Directions for P&irjtirjg. 
 
 Sketch your design very delicately, in water color. 
 Take up the local color for a leaf or petal and lay it on 
 
as quickly as possible. Then flatten your brush on your 
 palette and sweep over the part just painted as lightly as 
 you can, being sure it is perfectly smooth before you 
 leave it. 
 
 Keep the stroke of the brush in the direction of the' 
 fibres and from light to dark, or where the shadow will 
 finally be. 
 
 P5y doing so your local color will be thicker where 
 ) our shadows are to come and thin in the light parts, 
 
 Vour first painting being finished, it will suggest the 
 shadows. 
 
 Do not use any shadow colors for the first painting. 
 
 Your local colors must row be fired, after which 
 proceed to lay on the shadow colors where they are 
 required, leaving the first painting for the lights. A little 
 white enamel can be used for the high lights. 
 
 Use of Colors 
 
 For Pink. Use rose or carmine for first painting. 
 
 For Shadows, add grey to pink or local color, and 
 retouch darkest parts with pure pink. 
 
 For Yellow. For light yellow use pure yellow. 
 For darker yellow, add orange to the yellow. Shade 
 with orange and a little blue. For dark parts add a littl e 
 brown. 
 
 For Blue. Paint the desired tint of blue and shade 
 with blue and a little ruby. 
 
 For Purple. Mix blue and a little ruby and shade 
 with same. For darkest parts add a little more ruby. If 
 a lighter purple be required use rose in place of ruby. 
 
For Crimson. Mix about three parts rose and one 
 part ruby. Shade with ruby. 
 
 For Red- Use pure red for first painting. Shade 
 with red and a very little ruby or violet of iron. 
 
 For Grey. Mix orange and blue and a very small 
 quantity of rose. It is a'most impossible to give the pro- 
 portions, as all depends on the color underneath. For 
 instance, yellow is warmer than white, therefore in mix- 
 ing a grey for it, orange should predominate. White 
 being cold it is necessary to use more blue in mixing a 
 shadow tint. 
 
 For White. Mix a grey for the shadows and leave 
 china white for lights. Use a little white enamel for high 
 lights. 
 
 If you wish to make a yellow-brown add a little 
 orange or yellow with the brown. If a* darker 
 brown is required, add a little ruby or black, or both, to 
 brown. Care should be taken in adding ruby or rose to 
 colors, as they intensify in firing. 
 
 Paste for Raised Golsl 
 
 It is very important to have the paste tho- 
 oughly ground with turpentine. To a portion of it 
 add a small quantity of fat oil, keeping the other 
 part on your palette. If the portion to which you 
 have added the oil is too thick, thin with turpentine and 
 breathe on it enough to prevent it from running flat on 
 your palette, but not enough to dry it. Then place it in 
 the smallest compass you can, as it will keep in condition 
 
 8 
 
longer by so.doing. With a fine brush take up the amount 
 of paste you need, forming a knob on the end, and lay 
 the paste on as lightly as you can, so that the brush will 
 not press flat tl e paste, taking care in joining lin< 
 you cannot alter them after they are dry 
 
 You will find it necessary to mix your paste every 
 few minutes, as it dries quickly, adding a little turpen- 
 tine each time and not forgetting to breathe on it should 
 it run. If your paste becomes too fat with frequent mix- 
 add to it a little of the paste that is ground with tur- 
 pentine only. 
 
 Oil of tar is also a good medium for paste. 
 Relief or Enamel Colors should be used in the 
 same way as paste. In mixing these use a little less oil 
 and more turpentine. It is not necessary to grind enamel 
 fine, as it will fire smooth. 
 
 For Tinting 
 
 Great care should be taken to grind your color with 
 tinting oil and a little turpentine until it is free from 
 grit. 
 
 In mixing color for tinting it is necessary to use more 
 oil than for painting. 
 
 It is preferable to use tinting oil, for it is specially 
 prepared for that purpo.e. 
 
 Almost all the colors in the list may be used fur 
 tinting. There are a few for ground laying only. 
 
 It is impossible to give the exact proportions of oil, 
 color and turpentine, as some use powder colors, and 
 others tube colors. 
 
When tinting a large piece it is necessary to use more 
 oil. It takes longer to go over the surface and the color 
 must be kept moist, so that an opportunity is given to 
 pad the color even. If it dry too quickly add more oil- 
 Should it not'dry quickly enough, the ground will be too 
 light when padded. In this latter case, do not continue 
 padding", but allow it to stand until it becomes slightly 
 sticky. 
 
 If it be not ready to pad after standing a few min- 
 utes there is too much oil. In that case remove the tint 
 and try again, being careful not to use the oil in excess. 
 A little experience in tinting will give you the propor- 
 tions. Make a pad by placing a wad of raw cotton within 
 a piece of smooth silk. Stretch the silk smoothly over 
 the cotton and tie it in place in the form of a pad or 
 cushion. 
 
 Your brush must be thoroughly cleansed with tur- 
 pentine, then dipped in the oil and worked on the pal- 
 ette. Everything now being ready lay on the tint as 
 quickly and evenly as you can and pad it perfectly even, 
 
 In places where you cannot use a pad, such as 
 around handles or in indentations, use a blander or soft 
 camel's-hair brush. 
 
 After tinting remove all color from edges. 
 
 Grouo<U&yio$ or Drydustirjg 
 
 When dark or strong grounds are desired the color 
 must be used in pou der form and dusted on. Take a 
 small quantity of groundlaying oil, which is specially 
 prepared for this purpose, thin with turpentine and mix. 
 thoroughly. 
 
The proportions are go: erned rength of 
 
 color desired. 
 
 It is advisable to use a saucer i; i mix it. 
 
 The oil being thin it will run off a flat surface. 
 
 Lay a thin even coat of the oil on your china, 
 being careful not to leave any spaces uncovered. 
 
 Now use a pad, the same as used in tinting ; also, a 
 blender, where you cannot get with the pad. Be sure 
 you have padded the oil perfectly even before you apply 
 the color, as the least imperfection will be noticeable 
 after it is fired. 
 
 to stand for a short time until the oil 
 becomes sticky. 
 
 With a large blender or wad of raw cotton take up 
 as much of the colo over 
 
 theo . e, until it looks perfectly even, being care- 
 
 ful not to slight any part. 
 
 f all the superfluous color with a soft 
 brush or wad of cotton. 
 
 If any of the color is to be removed from the back 
 ground remove it at once with a soft piece of rag. 
 
 Gold 
 
 The large amount of gold prepared by us, is suffi- 
 cient proof that it gives perfect satisfaction in quantity 
 and quality, and enables us to sell at the lowest possi 
 ble price. Our light green, red, bronze, and dead g 
 harmonize perfectly when used in solid decorations. 
 
 In using gold it is necessary to mix it thor* 
 with turpentine, until thin enough to flo 
 but not thin enough to spread. 
 
The idea is prevalent among amateures that in order 
 to get on a good coit of gold it is necessary to use the 
 gold stiff. This is not so, as stiff gold will not flow from 
 the brush. 
 
 In filling your brush which should moderately filled 
 to the quill, be sure and work it thoroughly in the gold. 
 Do not twist the brush to form a sharp point, as this 
 empties the point of the brush. It is necessary to have a 
 full brush and a light touch. 
 
 When the gold becomes stiff and clogs in your brush, 
 dip it in the turpentine and again work the brush well i n 
 the gold. 
 
 For solid work, such as handles, use a square shader 
 of medium size Keep the brush flat and brush over the 
 gold repeatedly, until you have worked out all streaks or 
 brush marks. 
 
 Keep the gold in as small a compass as possible. 
 
 Keep a separate vessel of turpentine for gold work. 
 
 For stippling have your gold very stiff and always 
 wash the stippler in alcohol after using it. 
 
 Use hard gold only for working over color. 
 
 A\&tt Colors 
 
 The method for working Matt or Gouache colors is 
 similar to that of glazed colors, but the color must be 
 laid on thick enough to hide the glaze of the china, but 
 not thick enough to chip off in firing. When a lighter 
 shade is required add matt white. • 
 
EriflmHLi POCJUDEH COIiOI^S 
 
 FOR PAINTING ON CHINA 
 
 Peach Blossom, 10 
 
 Rose, ?o 
 
 Carmine, 10 
 
 Ruby, 25 
 
 Capucine Red, 10 
 
 Pompadour Red, 10 
 
 Violet of Iron, 10 
 
 Flesh Color, 10 
 
 Yellow, 10 
 
 Gold Bjd Yellow, 10 
 
 Orange, 10 
 
 Ivory, 10 
 
 Light Brown, 10 
 
 Hair Brown (Dark), . . 10 
 
 Yellow Green, 10 
 
 Apple Green, 10 
 
 Grass Green, 10 
 
 Florence Green, 10 
 
 Brown Green, 10 
 
 Light Blue Green, ... 10 
 
 Celestial Blue, 10 
 
 Blue No. 1, 10 
 
 Violet, 10 
 
 Black, 10 
 
 Flux, 10 
 
 Paste for Raised Gold, 10 
 
 French Brown (Med' m), 10 | 
 
 All the colors in the above list may be used for tint- 
 ing and ground laying, except Paste and Flux. Ruby 
 is more satisfactory ground laid than tinted. 
 
 A full line of La Croix Colors, in tubes, to be had at 
 the store, 33 North Sixteenth Street. 
 
 GOIiD, BHO^ZE flfiD SIIiVE^ 
 
 Prepared Dead Gold, per box, $ 75 
 
 Hard Gold (for over color only) 75 
 
 Red Gold 75 
 
 Light Green Gold 75 
 
 Bronze Gold 75 
 
 Liquid Bright Gold, per vial, 50 and 75 
 
 Dead Silver, in powder, prepared and fluxed. .25 and 50 
 
 13 
 
mflTT Conors 
 
 For painting, tinting and ground laying in Royal 
 Worcester and Doulton decorations. 
 
 Pink No I,. 10 
 
 Pink No, 2, io 
 
 Old Rose io 
 
 iMarone, 15 
 
 Chocolate, 10 
 
 Yellow 10 
 
 Orange, 10 
 
 Brown Bronze, 10 
 
 Green Bronze, 10 
 
 Nile Green 10 
 
 Lt.Olive Bron zeGreen 1 o 
 
 Yellow Green, IO 
 
 Dark Blue Green jo 
 
 Dark Blue, 10 
 
 Robins' Egg Blue, .. . 10 
 
 White, 10 
 
 Black 10 
 
 Vellum 10 
 
 Old Ivory, io 
 
 BRUSHES 
 
 i FINE FRENCH CAHEL'S HAIR BRUSHES, First Quality 
 
 Tinting Brushes, 15, 20, 25, and 30 
 
 Fitch Stipplers No. 8, 15 
 
 5 12 
 
 3> 10 
 
 8, 12 
 
 6, 12 
 
 4, 10 
 
 2, c8 
 
 1, 08 
 
 1, ..08 
 
 " o, 08 
 
 ** " "00, 06 
 
 Blenders, 15 
 
 14 
 
 Square Shaders, " 
 
 Tracers 
 
FOR GROUND LAYING 
 
 Turquoise No. i, 10 
 
 SEIilEF EJSIAJVIELi 
 COLiO^S 
 
 White Enamel 10 
 
 Gieen, 10 j Opaque Turquoise,, .. 10 
 
 Crown Darby Pink, .... 10 ; Light Red 10 
 
 Ruby, 25 Rose, 10 
 
 , Yellow, 10 
 
 OIUS, Etc. 
 
 Thick or Fat Oil, per bottle 10 
 
 Essence de Grasse, " " 10 
 
 Tinting Oil, " " 10 
 
 Balsam of Copaiba, " " 10 
 
 Ground Laying Oil, " " 10 
 
 Clove Oil, *' " 10 
 
 Lavender Oil, " " 10 
 
 Taking Out Mixture, " " 10 
 
 Glass Brushes, each 25 and 50 
 
 Steel Palette Knives, 25 
 
 Scrapers 40 
 
 Horn Palette Knives 10 and 1 c 
 
 Agate Burnishers, ^ and 50 
 
 India Ink, 10 and 20 
 
 Tracing Paper per sheet, 5 and 10 
 
 Transfer Paper, " 5 and 10 
 
 15 
 
Firing 
 
 EACH 
 
 Pitchers, half-pint, 10 
 
 " pint, 15 
 
 " quarts, 20 
 
 " three-pint, 25 
 
 " half-gallon, 35 
 
 Chocolate pots, 25 
 
 Cracker Jar and Cover, 20 
 
 " large, 25 
 
 Tea Cup and Saucer, 10 
 
 A. D. Cup and Saucer, 08 
 
 Coffee Cup and Saucer, 12 
 
 Moustache Cup and Saucer, 15 
 
 Boullion Cup with Saucer. 10 
 
 and cover, } 
 
 Tea Pot, 
 Sugar Bowl, 
 Sugar Box, 
 Cream Pitcher 
 Cake Plate, 
 
 Egg Cu P> 
 Candlestick, low, 
 
 " medium 
 
 high, 
 Individual Butters, 
 Sauce Tureen, 
 
 15, 20 and 25 
 
 05, 10 and 15 
 
 15 and 20 
 
 05, 08 and 10 
 
 12 
 
 04 
 
 10 
 
 12 
 
 DOZ 
 
 $I.OO 
 
 80 
 
 I 20 
 
 I.50 
 
 I OO 
 
 5 1.50 
 
 Gilding 
 
 EDGE ONLY 
 
 EACH DOZ 
 
 05 
 IO 
 
 15 
 15 
 20 
 
 15 
 15 
 15 
 IO 
 08 
 15 
 15 
 IO 
 
 40 
 
 04^ ^40-— 
 
 25 
 
 l S 
 
 $1.00 
 
 80 
 
 1.50 
 
 1.50 
 
 1. 00 
 
 50 
 
 04 40 
 
 # 
 
 do 
 
Firing 
 
 Gilding 
 
 
 
 
 
 EDGE ONLY. 
 
 
 
 EACH 
 
 DOZ 
 
 EACH DOZ 
 
 Sauce Boat, 
 
 
 15 
 
 
 
 Covered Dish, 
 
 
 30 
 
 
 
 Salad Bowl, 
 
 
 20 
 
 
 
 large, 
 
 
 25 
 
 
 
 Olive Dish, from, 
 
 
 07 
 
 
 
 Baskets, from, 
 
 
 12 
 
 
 
 Butter Dish, 
 
 
 20 
 
 
 
 Ice Cream Saucer, 
 
 
 05 
 
 50 
 
 05 50 
 
 Oyster Plates, 
 
 
 TO 
 
 I. OO 
 
 IO I OO 
 
 Sieve Buttons, per 
 
 pair, 
 
 OS 
 
 
 
 Mugs, small, 
 
 
 08 
 
 
 
 " large, 
 
 
 IO 
 
 
 
 Powder boxes, 
 
 
 08 IO & I 
 
 5 
 
 
 Bon-Bon Boxes, 08 10 12 15 & 20 
 Bone Dishes, 07 -70 
 
 Pen Tray, 07 
 
 07 
 
 Comb and Brush Tray,/o? ^15 
 
 15 
 
 Manicure Tray, 08 
 
 08 
 
 Ring Tree, 05 
 
 05 
 
 Pin Tray, 05 
 
 0-5 
 
 Bread and Milk Set, 3 pieces 25 
 
 25 
 
 Marmalade Jar and Stand. 20 
 
 20 
 
 Punch Bowl, from 50 
 
 
 17 
 
 
 70 
 
PLATES: 
 
 FIRING 
 
 
 
 
 
 
 Size in Inches 
 
 5 6 
 
 7 
 
 8 
 
 
 9 
 
 Each 
 
 05 06 
 
 07 
 
 $ 08 
 
 $ 
 
 10 
 
 Dozen 
 
 150 60 
 
 70 
 
 80 
 
 
 1 00 
 
 COLD EDGE. 
 
 
 
 
 
 
 Each 
 
 05 07 
 
 08 
 
 IO 
 
 
 10 
 
 Dozen 
 
 50 70 
 
 80 
 
 1. 00 
 
 
 1 .00 
 
 COLD STIPPLED EDCE RICH 
 
 
 
 
 
 Each 
 
 20 30 
 
 40 
 
 50 
 
 
 50 
 
 COLD STIPPLED EOCE SLIGHT 
 
 
 
 
 
 Each 
 
 15 20 
 
 25 
 
 30 
 
 
 30 
 
 COLD DENTELLE EDCE 
 
 
 
 
 
 Each 
 
 15 20 
 
 PLAQUES. 
 
 20 
 
 25 
 
 
 25 
 
 FIRING 
 
 
 
 
 
 
 Size in Inches 10 
 
 II 12 
 
 13 
 
 14 
 
 
 16 
 
 Each 12 
 
 15 15 
 
 20 
 
 25 
 
 
 30 
 
 COLD EDCE 
 
 
 
 
 
 
 Each 12 
 
 '5 '5 
 
 DISHES: 
 
 20 
 
 25 
 
 
 30 
 
 FIRING 
 
 
 
 
 
 
 Size in Inches 8 
 
 10 12 14 16 
 
 18 
 
 20 
 
 22 
 
 24 
 
 Each io 
 
 IO 15 15 20 
 
 25 
 
 30 
 
 40 
 
 50 
 
 COLD EDGE 
 
 
 
 
 
 
 Each io 
 
 I O 12 15 20 
 
 TILES. 
 
 25 
 
 30 
 
 40 
 
 
 FIRING 
 
 
 
 
 
 
 SIZE IN INCHES 
 
 3x3 3x6 
 
 
 6x6 
 
 
 8x8 
 
 Each 
 
 05 07 
 
 
 08 
 
 
 IO 
 
 Dozen 
 
 50 70 
 
 
 75 
 
 #1.00 
 
PANELS. 
 
 
 
 FIRING 
 
 
 
 SIZE IN INCHES 4x6 
 
 6x8 8x!2 10x14 I0zl6 
 
 10x18 
 
 08 
 
 IO 20 30 35 
 
 VASES. 
 
 40 
 
 Size in Inches 4, 
 
 
 OS 
 
 5 or 6 . 
 
 
 
 IO 
 
 7 or 8 
 
 
 
 '5 
 
 9 or 10 
 
 
 
 20 
 
 11 or 12 
 
 
 
 25 
 
 13 or 14 
 
 
 
 35 
 
 15 or 16 
 
 
 
 45 
 
 17 or 1$ 
 
 
 
 63 
 
 Vases with handles and feet will be charged extra 
 
 
 Your attention is called to a choice selection of white 
 china at reasonable prices. 
 
 This price list is subject to blight alterations, 
 
 
 '9 
 

 
 

 Wo 
 
 ten