Part 2

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

_Red Cherries._ For painting red cherries, use dark pompadour for the dark parts and poppy red for the lighter portion. Violet or iron is a good color to use for deep cherries.

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

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

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

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

_Strawberries._ It will be noted that dark pompadour is a very useful color for fruits. The shadows in the strawberries should also be laid in with this color and the light parts with a very light application of light pompadour. It will not be amiss to remind the decorator that in china painting all deep shadows are painted in for first firing and the lighter tints applied for second and third firings.

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

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

_Red Raspberries._ These are laid in with dark pompadour for both light and dark parts.

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

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

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

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

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

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

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

FIGURE PAINTING

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

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

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

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

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

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

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

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

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

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

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

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-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 a smooth soft tint, then repeat with the second pad. This second padding may not be necessary, but it cannot do any harm and it certainly will improve the smoothness of the oil. Here the decorator is cautioned to see that the oil is perfectly even, free from spots and scratches, as these faults would be noticeable after the color is applied. It is best to wipe off all the oil and make another application instead of trying to correct a fault on the padded oil.

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

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

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

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

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

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

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

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

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

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 oil _need_ be used. For very slow drying add a drop or two of oil of cloves when mixing the colors. Naturally, the colors will remain moist according to the amount used. Should too much be used, the colors will run. Sweet oil is also used, but less should be used than of the oil of cloves or the colors may remain moist for several days.

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

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

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.