sponged clean and porous, is then placed in the frame and the tile pressed as before.
Fig. 40
Raised outline tiles can be even more satisfactorily made by means of outlining slip squeezed from a tube or tracer in the same manner that inscriptions are made on sugared cakes, but this requires much practice to obtain good results. When glazing, the coloured glazes are applied to the different compartments with a brush. As the glaze fuses to about one third of its bulk when dry, it should be applied very liberally.
It will be found that large or elaborate designs are to be avoided, as in this process they tend to
become mechanical and look thin. The old Spanish and Moorish tiles in this style with jewel-like bits of colour are excellent guides and might be studied with advantage.
Fig. 41
The process of making encaustic tiles is a little more complicated. Within the frame is placed a well-lathered or soaped plaster bat (or tile) high enough to allow only a thin layer of clay 1⁄8” thick being run out on top. On this when firm the design is traced or pounced. Then with a thin sharp blade it is cut down vertically to the plaster bat, and the clay removed until the whole design shows in white plaster beneath (see illustration 42). The face of the clay left must be preserved carefully, as it forms the surface of the subsequent press.
The bat with clay is now placed on the bottom of the frame to allow a cast 5⁄8” thick to be made. The plaster and the sides of the frame are slightly oiled