In describing the method of painting a vase, we have taken for our model, one decorated with flowers. Decorations can, however, be as varied in regard to subjects as paintings on canvas. Floral decorations seem to be the best adapted to vases, or other objects having rounded surfaces. Plaques and vases, such as pilgrim jars, which afford flat surfaces, may also be decorated with landscapes or figures. For these subjects somewhat different treatment may be adopted, but enough has been said to indicate the requirements of the material, and each artist will find a manner suited to himself.
Decorations of a similar character can be produced upon ware of different colors, leaving the color of the clay for a ground. This has a very good effect when done upon cream-tinted clay in suitable colors. As this kind of ware should be fired at a higher temperature than the deeper tinted and coarser clays, the colors are liable to fade in the firing. This is not undesirable, however, as the faded tints harmonize with the light ground much better than darker colors. Some beautiful effects can be produced by decoration of this kind, which can be supplemented by carving and gilding.
The same method can be used on a ground of dark red clay by the selection of colors which will harmonize with the ground. Yellow flowers look well upon a ground of this character, and the yellow color can be produced, as we have said before, by the use of yellow clay, either alone or as an adjunct to the color.
Monochrome decorations can also be produced, by the use of natural clays of various colors, in the same manner as that pursued in the use of the artificially tinted clay of which we have been treating. Good effects can be produced in this way, with the advantage that the colors will be fully retained in the firing. Red, or brown and white, in various degrees of combination, can be used to produce a design with every effect of light and shade. Also, red, with cream-tinted clay, or the three colors—red, yellow and white—can be used together. These designs can be produced upon grounds of cream, red, or yellow clay.
DRYING.
When the painting has been completed, it should dry very slowly, and it would be better, if possible, to effect this by placing it in a moist, cool place. It is, however, difficult to handle a piece of ware when wet. The clay is in a very soft state, and a sudden jar might cause the vase to fall to pieces.
If the vase has not been in proper condition for painting, or has dried too quickly, it will, after some hours have elapsed, begin to show fine cracks upon the surface of the painting. These may be stopped, before they have gone too far, by passing a modeling tool over them, or, if the crack has become too deep for this treatment, it may be filled with clay as nearly as possible in the state at which the body of the ware has arrived. If the cracks are allowed to go too far it will be difficult to stop them, as they may have extended into the body of the ware.
If the piece is permitted to go to the firing with any cracks, however small upon its surface, they will become widened in the firing, and, especially after the glazing, will show very distinctly.
In the biscuit, they may be stopped by filling them with powdered clay mixed with gum water. But an ounce of prevention is worth a pound of cure, and the safest method is to prevent their appearance in the first place. If this can not be done, they must be stopped as soon as they appear. The finer clays seem to have a greater tendency to crack in drying, and when the cracks have appeared, they are more difficult to stop than in other clays.