A Handbook to the Practice of Pottery Painting by John Charles Lewis Sparkes

Author:John Charles Lewis Sparkes
Language: eng
Format: epub
Publisher: Lechertier, Barbe, & Co.
Published: 1879-03-25T05:00:00+00:00

it may run down the surface of the ware, and blar or destroy the outline.

It is used for high lights, and must be applied carefully and thickly. In order to do this have the colour on a clean palette, thoroughly mixed, add a little fat oil to make the mass smooth, but not enough to render it liquid. Take a clean dry brush and dip only the tip of it into the mixture, taking up a small piece at a time, which transfer quickly on to the part requiring it. Never allow the brush to get soaked with the enamel, which clogs it, and prevents its working smoothly and finely. \

The green that is made of claret brown, common brown and black must be put on rather thickly, as it fires out to a great extent.

A fine olive green is made with green, orange, and claret brown; a purple, with two parts of manganese brown and one of cobalt.

As the mode of painting flowers on the biscuit differs very little from that in use for their application to china or earthenware, a repetition of the methods need not be made. Any errors in the laying on of the colour bring about similar results in both cases. If the colours are put on too thinly they fire out; if too thickly they will not take the glaze, and look dull in consequence: sometimes they will even blister, and they are always heavy and dry.

In painting heads on the biscuit it is well to remember how important it is to have an accurate drawing, which may be made with pencil or charcoal, or with lithographic chalk, on the tile or plaque.

The background is next to be laid on as far as possible* No definite directions can be given as to style and colour of the background, for it depends on the artist's feeling and

taste. It may, of course, be a sky of any tint, distant land* scape, foliage, or drapery, or anything else, and may be a simple flat wash of colour or an evenly graduated tint of two colours. The points to be aimed at are such a harmony of colour as may agreeably assist the colour of the head.

The flat tints already noted may be used for these background tones, such as the turquoise blue flat tint, which, with a darker pattern of dark blue running over it, would contrast with a strongly painted head.

The olive green above mentioned may be very effectually used, also the purple, made with manganese and cobalt.

When this is laid in, wash in the large tints of the hair and drapery broadly and quickly, and then leave them to dry. It is to be remembered that biscuit, when dipped in glaze and fired successfully, comes from the kiln a piece of glazed ware, which can be used as a basis of a complete system of over-glaze or enamel colouring afterwards. This gives the artist a double chance of obtaining his ends; as the softness of

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