Part 4

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.

CHINA REPAIRING

To repair a piece of china that has been cracked through and through, use “cement to be fired,” mixed with water, until nearly liquid. Apply it to the crack repeatedly, so as to let the china absorb as much of it as possible; then wipe away all the surplus, and fire. This cement contains quite a good deal of flux, and will affect any color covered with it. It will always prove satisfactory when applied nowhere except just inside of the cracks.

If the article to be repaired is broken into many pieces, tie them together with asbestos cord before applying the cement to be fired, and fire with the asbestos. Asbestos will not leave a mark on hard china, and only a slight one on Belleek ware; but even this can be prevented by firing very lightly, and the cement will be quite as effective.

It must be remembered that this cement has no body and will do nothing toward filling in a space; it melts completely and holds the pieces together. If the crack is wide, apply the cement first, as explained before; let it dry, and then fill in the crack with enamel mixed with either oil or water.

To imitate the color of the decoration through which the crack comes, add a bit of the desired color to the enamel, being careful to remember that tinted enamels are rather darker after firing than before.

Fill in a nick with enamel mixed with one-tenth of flux. After this is fired, it may be covered with paste and gold, and the fault will be completely obliterated.

By mixing one part of flux to nine parts of very finely grated china, a good filling will be produced for large cracks, or for places from which small pieces of china are missing. It must be very carefully applied, and dried before firing.

Paste and gold work will cover up cracks very nicely.

Unless the china is actually apart, the cement need be applied to only one side.

For a cracked vase, apply the cement by letting it run along the inside of it only, but on a platter, apply it on the outside, or, if desired, on both sides.

Black spots and pin holes can be filled in with enamel.

China can also be repaired by using a cold cement, which should not be fired. Apply the cement with a stick, on the edges of both pieces, and put them together very carefully. Set the china aside, so that it will remain undisturbed until dry. If there are many pieces, join two or three, and let them dry, and gradually add on the others until the article is complete. Allow two days for an ordinary good drying, without artificial means, before handling.

A strong cold cement is made by mixing two parts of cheese to one part of powdered lime, adding water until the mixture is of a semi-liquid consistency. Mix and grind it with a knife until it has become tacky. Apply this to the edge of the china, and join the pieces carefully, allowing one day for it to dry.

Many large crockery houses use this cement exclusively, and find it very satisfactory.

FIRING CHINA

If the kiln is raised upon a box or platform from 10 to 20 inches high, it is more convenient to stack, and also to regulate the burner. Have the box covered with a piece of zinc or sheet iron. Connect with the chimney in the most direct way, using 7 in. pipe which must not taper. If the chimney hole should be smaller, have it enlarged to this size. Set the brackets in the support upon the side of the kiln. Fill the can with kerosene oil and place upon the bracket adjusting the funnel so that the oil will drop into it. Place a small piece of asbestos fibre as large as a thimble in the iron tray in the bottom of the burner, and keep the slide in the burner well open.

_Kilns are shipped with the clay in a green state in order to insure safe transportation_, and must be fired in order to dry out any moisture _before_ firing china.

Turn on the oil in a fast drop and apply a lighted match or taper to the asbestos fibre, which has become saturated with oil and will light. Allow the oil to flow in a broken stream for about 15 minutes. By this time the burner has become hot and will consume more oil. At first, the bottom of the pan need not be more than one-half covered, _always exercising care not to feed it too fast in the beginning_. As the kiln becomes hotter, the oil may be increased gradually and a red glow will be seen through the mica window in the door. This will gradually increase until the whole interior is red, also the flames may be seen through the mica window at the top. From this time the oil may be turned on as fast as the burner will consume it without overflowing. Usually the first time it is fired it is best to allow the kiln to run slowly for four or five hours or longer if necessary, and until it shows a good red throughout the inside, and hotter than for firing China.

The China may be stacked in any manner which is convenient. Trays and plates may be placed on edge with small stilts between, although the expert firer may stack safely on edge without stilts as long as the glazed surface of one piece is touched only by an unglazed bottom or rim of the one next. If plates are piled one above the other, it is always safer to have medium sized stilts between them. In case of a large Jardiniere, Vase, or Punch Bowl, place a large stilt beneath. It is frequently convenient to stack large pieces on the side, in which case they may be raised a little in the same way. Stack the china so that it will not wedge at any place, and so that ventilation of air may circulate about the pieces. Cups and saucers and small articles may be stacked in any possible position separated by small stilts. If you wish to use the shelves place the supports in the kiln so that they rest securely, and place the shelves upon them. Very few firers make use of them after they have become accustomed to stacking without.

It is not necessary to heat the kiln each time before firing, as moisture is not expelled from fire-brick into the oven as it is from an iron firepot. Allow the oil to flow in a small or broken stream for about 15 minutes, and then increase a little. _The main point is to feed the oil very slowly at first until the burner_ has become hot, when it may be increased gradually. The first red will show in about 40 minutes. From this time on, the oil may be increased as fast as the burner will consume it without overflowing. After the interior of the kiln has been thoroughly red for some time it will grow paler in tone and a glow commonly called Sunshine will spread over it. This is the point to turn off the oil, and stop the fire. You can see whether the gold has changed color, and whether the pieces are glazed, especially any dusted tints. If your colors come out dull, and if your rose or carmines are brick color instead of a clear pink, or if your gold rubs off, you may know that you have not fired long enough. If your pinks or carmines have turned purple, you have overfired. A few trials will enable you to know for yourself, just the right length of time.

It takes from one hour and fifteen to an hour and thirty to forty-five minutes. The time varies, depending upon the draught and the way the oil has been fed.

The mistake is too often made, of firing by time entirely, instead of being guided by the appearance of the kiln. After having fired several times, one will have ascertained pretty nearly just how long their kiln takes to fire, and this time is not apt to vary greatly. Yet on some days, depending upon different conditions, it may take a trifle longer or less time, and so let your reason, rather than the clock, dictate the proper firing.

The hole under the door is intended for a peep hole, to see the condition of the fire in the combustion chamber, and should be left closed. When the chimney draft is not good a carbon may form over the burner in this combustion chamber, and by the use of a small poker through this hole it may be removed and taken out through the burner without stopping the firing.

If the kiln does not seem to respond properly, and in a reasonable length of time, you will, doubtless, find that there in insufficient draught in the chimney. This is a most important consideration, and if there is any cause, such as a stove, or fire-place connected with the same flue which cuts the draught, it must be removed. If attached to the same flue as a furnace or stove, the latter must be entirely cut off _when the fires are out in the summer_.

Sometimes it is necessary to have the chimney lengthened or pipe added to the top, especially if there are tall buildings or trees nearby. The chimney or additional pipe should not have a hood or covering of any kind. In every case, an imperfect draught is the only cause which prevents perfect success from the start. When these conditions are right, little or no carbon will be formed. If an accumulation of carbon forms in the chamber above the burner, it is because the draught is poor, and must be increased. By continuing to fire with a poor draught, you run the risk of filling the tubes and choking the kiln, which must then be cleared out before firing again, even if the draught is remedied.

After firing a few times, frequently after the first firing, small heat checks or cracks will appear in the different tubes or linings of your kiln. This occurs in all fire-brick kilns and has no serious significance. With kerosene oil as a fuel, no injurious gases are formed, and no harm will come to the most delicate ware. You may fire it with perfect safety, even if the small cracks are not filled. After a time as the cracks become larger, and seem of some consequence, they may be filled with a paste made of fire-clay and water. Do not merely plaster this paste over the outside, but force it well into the cracks. In this way the kiln will last indefinitely. Cracks are less liable to come if a little care is exercised not to cool the kiln too fast, and not to open the door while it is hot.

About three or four hours should be allowed for cooling, and in opening the door be careful not to subject the china to a sudden cool draught. Open the door only very gradually, leaving a mere crack at first, then a little larger space, etc. The sudden draught of cool air might cause the china to craze and crack.

A piece of soft glazed ware, if taken from the kiln while still too warm, is apt to show a crackled or crazed glaze, and you will hear the little crackling sound produced by the sudden contraction of the glaze.

=Hibbard Powder China Colors in Vials=

=No Better Quality Made=

BLACKS

Best Black 10c Outlining Black 10c

BLUES

Baby Blue 10c Banding Blue 10c Copenhagen Blue 10c Deep Blue Green 10c Royal Blue 15c Turquoise Blue 10c

BROWNS

Auburn Brown 10c Brown Green 10c Chestnut Brown 10c Deep Red Brown 10c Finishing Brown 10c Hair Brown 10c Meissen Brown 10c Yellow Brown 10c

GRAYS

Gray for Flesh 15c Pearl Gray 10c Royal Copenhagen Gray 10c

GREENS

Apple Green 10c Brown Green 10c Darkest Green 10c Deep Blue Green 10c Empire Green 10c Gray Green 10c Moss Green 10c Myrtle Green 10c Olive Green 10c Peacock Green 10c Royal Green 10c Russian Green 10c Shading Green 10c Yellow Green 10c

PINKS

American Beauty 24c Rose 12c Peach Blossom 12c Standard Pink 20c Sweet Pea Pink 10c

PURPLES AND VIOLETS

Crimson Purple, best 36c Dark Violet 12c Dp. Violet of Gold 28c Royal Purple 20c Ruby Purple, brilliant 36c Violet 15c Violet of Iron 15c

REDS

Blood Red 12c Carnation 10c Deep Red Brown 10c Pompadour 10c Poppy Red 10c Yellow Red 12c

WHITES

Relief White (Aufsetzweiss) 12c White Enamel 12c

YELLOWS

Albert Yellow 10c Egg Yellow 10c Imperial Ivory 10c Ivory Glaze, for dusting 10c Ivory Yellow 10c Lemon Yellow, rich 10c Oriental Ivory 10c Primrose Yellow 10c Trenton Ivory 10c

FLUX

Flux 10c

PASTE FOR RAISED GOLD

Vial 16c

=Hibbard Lustre Colors=

Lustre Colors are very effective in conventional style decoration. In connection with powder or regular painting colors, part of the design may be Lustre, either flowers, leaves or parts of background that require special treatment to bring out the beauty of the design may be treated with Lustre if brilliant effect is desired. See chapter on use of Lustres for complete color treatment and chapter on conventional style painting for uses to which lustres may be applied.

½ Bottle Bottle Ounce Copper $0.30 .... $3.00 Dark Green .... .23 1.00 Gold Lustre .30 .... 3.00 Iridescent Rose .... .24 1.00 Light Green .... .13 .60 Mother of Pearl .... .13 .60 Mother of Pearl, bluish .... .13 .60 Mother of Pearl, greenish .... .13 .60 Opal .... .13 .60 Orange Red .... .11 .50 Platinum .48 .... 4.95 Ruby .48 .... 4.50 Silver Lustre .45 .... 4.95 Steel Blue .27 .... 2.50 Violet .24 .... 2.25 Yellow .... .11 .50 Yellow Brown .... .11 .50 Essence for thinning .... .08 .45

=Hibbard Medium=

FOR MIXING, PAINTING AND TINTING

Hibbard Medium is a combination of oils in proportions best suited for mixing smoothly colors in either powder or paste form. Gives the necessary time to blend tints and pad ground perfectly smooth. For painting, mix color and medium into a compact smooth mixture with palette knife. Can be used with any make of colors and oils. It is not surpassed by any preparation on the market, but is priced way below other makes.

1-ounce bottle $0.12 16-ounce bottle (pint) 1.35

=Hibbard Gold=

Manufactured by THAYER & CHANDLER

Hibbard gold gives you the best value you have ever seen in gold for china painting. Other golds on the market are made by a manufacturer who sells to a jobber; the jobber sells to the retail merchant and from the retail merchant it reaches the painter. Don’t pay retail price for gold. Remember, in buying gold from us, it comes direct from the producer. We are in a position to give you more for your money than any dealer.

Hibbard gold is put up in boxes and air tight screw top porcelain jars made especially for this purpose. Boxes have new metal HIBBARD GOLD PROTECTOR cover which fits over the gold in contact with glass slab keeping the gold moist and free from dust. Gold in jar is so well protected from dust and air that there is practically no waste or deterioration; it will keep indefinitely.

Jar No. 1. Roman or Unfluxed $0.55 Jar No. 3. Equal to three boxes 1.50 Jar No. 6. Equal to six boxes 2.90

IN BOX ON GLASS SLAB

Per box, Roman or Unfluxed $0.55 6 boxes, Roman or Unfluxed 3.20 12 boxes, Roman or Unfluxed 6.35

=Hibbard New China Painting Outfit=

Hibbard outfits have improved the standard of china painting sets very materially and have new features which make these the best outfit values ever offered. New Process Outline Designs are strictly up-to-date and not found in other outfits. Selection of colors and material was made by professional china painter. Useless and out-of-date colors, etc., have no place in Hibbard outfits.

HIBBARD OUTFIT No. 2

Polished wood box, 9½ × 6½ inches, containing list of material as enumerated below:

1 Vial Yellow Brown 1 Vial Auburn Brown 1 Vial Yellow Green 1 Vial Peacock Green 1 Vial Best Black 1 Vial Banding Blue 1 Vial Albert Yellow 1 Vial Poppy Red 1 Vial Rose 1 Vial Violet 1 Vial Lemon Yellow 1 Vial Pompadour 1 Steel Palette Knife 1 Tinting Brush, No. 10 1 Square Shader, No. 6 1 Square Shader, No. 3 1 Pointed Shader, No. 2 1 Fine Outliner, No. 2 1 Bottle Mixing Medium 1 Bottle Turpentine 1 Bottle Outlining Ink 1 Mixing Palette, in tin holder 5 Brush Handles 1 Sheet Tracing Paper 1 Sheet Graphite Paper 1 Plate Divider 1 Instruction Book 12 new Process Outline Designs

Outfit No. 2, net wholesale price $2.98

HIBBARD OUTFIT No. 3

Polished wood box, 12 × 9 inches, containing following large assortment of high-grade material: