TINTING

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

The term “flushing” is sometimes used when tinting is used for a background.

Ground

GROUND-LAYING

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

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

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

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

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

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

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

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

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

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

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

DUSTING

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

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

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

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

Gold or silver mustnotbe applied after an article has been dusted in this way. The metal is usually tacky and may retain some of the little particles, and this would mar the brilliancy of either metal.

Outlining

OUTLINING

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

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

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

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

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

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

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

Burnish silver can be handled in the same way.

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

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

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

CUTTING OUT

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

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

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

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

PADS AND DABBERS

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

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

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

SLOW OR QUICK DRYING COLORS

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

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

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

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

Perhaps it will be only necessary to breathe on the surface.

Relief work

PASTE OR RELIEF WORK FOR GOLD

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

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

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

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

Reducing the paste to the right consistency is the most important feature of the work. It should be of such consistencythat when taken up it will keep in good shape while hanging to the paste brush.

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

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

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

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

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

GOLD

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Nothing but unfluxed gold should be used with Belleek ware.

Burnishing

GOLD BURNISHING

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

Lustres

LUSTRES

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

MATT COLORS

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

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

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

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

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

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

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

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

Star Banding Wheel

BANDING

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

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

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

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

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

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

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

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

OXIDIZING OF COLORS

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

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

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

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

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

GLAZING OF UNDERFIRED COLORS

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

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

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

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

CHIPPING OF COLORS

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

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

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

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

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

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

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

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

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

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

Enamel

ENAMEL WORK

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

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

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

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

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

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

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

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

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

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

One firing is all that is needed for flat enamels.

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

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

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

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

Back to Index Next