Home Amusements

by M. E. W. Sherwood

The more delicate the outline the better, provided it is more plainly visible, as a heavy, dark, or colored outline sullies the colors used upon it, and causes much annoyance in working. Although it may disappear in the firing, it is better to avoid it. Faulty lines in the tracing may be rectified by the use of a sharpened stick of soft wood moistened with turpentine.

If tube-colors are used, and found difficult to lay, a drop of oil of turpentine may be added to the turpentine. Care should be taken, however, to avoid too much oil, as it renders the colors liable to blister in the fire. The use of clove-oil as a medium is advised by some. The color can, perhaps, be more easily laid with it than with spirits of turpentine. It does not dry so quickly, however, and, unless recourse is had to the process of drying the work with the aid of an alcohol lamp, its use involves tedious waiting. It is better to use turpentine and finish the work at one sitting. The drying of colors is affected by the state of the atmosphere. If, during the progress of the painting, it is found to be difficult to work over the colors first laid—which are indeed very liable to come up—the piece of china may be placed in a moderately warm oven to dry before proceeding. On being taken out of the oven, the colors will be found to have lost their gloss, if perfectly dry, and, perhaps, will have changed their hue. No alarm need be felt at this, as they will return to their former brilliancy when fired. But here we come to a great trouble.

The chance of a piece “firing” well is one of the great trials of the china painter, and is beyond her control; but this is always counted in. It is best to send the piece to a pottery to be burned. A cup containing turpentine should stand near the working table to wash the brushes; and after using a color containing iron, the brush should be carefully washed before it is charged with one which does not contain iron, or if white is to be used. The brushes ought not to be too small, and the colors should, as far as possible, be laid in broad washes, and decided touches placed lightly and quickly, and not overworked. The use of the blender may be resorted to if necessary, especially in laying the first washes; although it is better to avoid using it afterward, if possible.

The same rules may be applied to china painting as to water-colors, to which it bears a strong resemblance. The greatest art consists in placing each touch where it should go, and leaving it; not spoiling it by uncertainty, or degrading the tint by overwork. In fine work, lining and stippling are necessary in finishing, but should not be carried to excess or made too apparent. These latter processes are, perhaps, more indispensable in preparing work for a single firing, as it is very difficult to lay repeated washes over one another; the under-tint comes up so readily, especially when it is not thoroughly dry. The same place must never be passed over by the brush twice in immediate succession, as the under-tint will certainly come up, and the blot caused in the painting will be difficult to rectify. It is of no use to attempt it while it is wet. Work on some other part, and then go over it, or first dry it in the oven.

Some of the tube-colors may require to be rubbed down after being taken from the tubes. This will be especially necessary in the case of the carmines and the whites. A horn or ivory palette-knife should be used with these colors, as well as with the blues, and all colors containing no iron. Mixtures of colors on the palette may be rubbed down occasionally, or mixed with the brush before using, to prevent them from separating themselves into their component parts.

Too much turpentine should not be taken into the brush when it is to be charged with color. Dip it into the turpentine, and remove the surplus moisture by drawing the brush over the edge of the vessel containing it before taking up the color from the palette. The tint may be tried first on the edge of the plate. Surplus color or moisture may be removed by touching the brush upon a muslin rag, which should always be at hand for the purpose of wiping the brushes.

After using, the brushes should be washed in alcohol. The bottle containing it should be kept tightly corked, as it evaporates very quickly when exposed to the air. Care must be taken that no drops of the alcohol drop upon the painting, as it will immediately remove the colors from the surface. When the large brushes are cleaned after being washed in the alcohol, the hairs should be spread apart, and the fingers passed lightly over them until they are dry; otherwise the hairs may stick together in drying, and the brush be rendered unfit for use. Washing in alcohol will prevent the turpentine used in painting from injuring the brushes, as it would if allowed to remain in them. The tube-colors should be preserved from heat as far as possible.

We have taken these rules, partly from personal experience, partly from the best manuals, and the china painter can begin on them. But a few lessons from a master are very valuable, and the best of all teachers—patience—will help the young and inexperienced better than any written directions.

We would like to say a few words more on the all-important subject of firing. “The Amateur’s Miniature Kiln,” now sold by the Decorative Art Society, and by the patentee, Miss N. M. Ford, Port Richmond, New York, enables the amateur to fire small articles of decorated china with perfect success. If near a large city, it is better to send the plaques to a large establishment where they are in the habit of baking them.

The amateur has to make up her mind to a great many failures at first, but after the accomplishment is somewhat conquered, it is an inexpensive and delightful addition to Home Amusements.