Chapter II: Part 2

Mix one part of silver with two parts of unfluxed gold and you have green gold. For platinum effects mix liquid bright silver with Roman gold.

Nothing but unfluxed gold should be used with Belleek ware.

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GOLD BURNISHING

The appearance of Roman gold when it comes from the kiln is Matt or dull. In order to bring out its natural brilliancy, scouring or burnishing is necessary. This can be done with a spun glass brush made for this purpose, or it can be burnished with a special sand. In case an article has to be refired, be sure to remove all of the glass fibres as they would ruin the decorations. The beauty of the unburnished gold will be destroyed by moisture from the fingers. If sand is used, moisten a soft cloth with water, and after dipping it in sand, rub the gold gently. After the gold is polished, the china can be washed. The china is underfired if the gold comes off in burnishing. The gold can be burnished more easily and more evenly if a coat of liquid gold is used in the first firing and Roman gold on the second.

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LUSTRES

Cleanliness is one of the first requisites for success in using lustres. The brushes should be cleansed with Gold-Essence or Alcohol from all traces of one color before using another, and should not be allowed to dry containing any color. The corks should never be changed from one vial to another as the least contact of tints in the unfired state is liable to spoil the whole vial. The vial should be corked at once when not in use as the liquid evaporates rapidly; this will also guard against dust and upsetting.

A soft camel’s-hair brush, that can be dipped into the vial, will be needed; also a wad of cotton enclosed in a piece of silk to form a pad as for ordinary tinting.

Use great care in handling pieces tinted with lustre colors. Clean the china thoroughly, using alcohol, being careful to leave no finger marks on the piece. Dust in the brush, in the kiln or on the china will make blemishes. See that the work is not exposed to any dampness. After the work is completed handle as little as possible and if necessary to be wrapped, use tissue paper, not cotton. It is best to apply the lustre in the last firings. An even tint is obtained by several applications, but always fire for each application of the lustre. A second coat on an unfired coat of lustre will produce a blotchy effect.

If lustre has fired spotty or in an unsatisfactory manner the fault can usually be corrected by applying another wash of the same color or a darker tint. A generous application of Mother of Pearl lustre will also remedy the defect. If lustre should fire too light, apply another wash of the same color and refire.

Lustres dry quickly and therefore should be padded without delay. Always have the dabber ready so that there will be no time lost after the color is applied. A good plan would be to apply lustre over a part of the surface and quickly pad it smoothly, then apply the lustre over the balance and finish by padding. To retard drying, mix a very little oil of lavender with the lustre, on the palette. This will also assist in padding the lustre more successfully. It is difficult to apply lustre smoothly with a brush inside of cups and small bowls. To obviate this pour a small quantity into the bowl and spread it with a silk dabber. Be sure that the lint has been singed from dabber. Firing of lustres require a great deal of care. The piece should be placed in the kiln in such a way that no dust can fall on it. Be careful in drying lustres as the color will pulverize if the heat is too strong. On lustre and gold decorations care must be exercised in burnishing the gold so as not to rub the lustre, as it is very easily scratched. Lustre applied too thick is liable to crack and if applied over fired color will lose its brilliancy unless the color is a very light tint. Fired tints and lustres can be removed with hydrofluoric acid.

Lustres should have a medium fire. Deep color effects are obtained by repeated applications and firings. If lustre color is to be applied over gold, see that the gold is burnished. It is not advisable to apply painting colors over lustres as the combination is not a success. Lustres applied over fired Matt colors will produce a rich metallic effect which harmonizes beautifully with gold and paste work. A variety of metallic effects can also be obtained by applying a greenish bronze tone. Ruby will produce a strong dark metallic effect, and orange over gold produces a bluish purple bronze tone. Lustres applied over liquid bright gold will be very brilliant, but richer effects are obtained over Roman gold.

Silver lustres over light fire tints will have a frosted appearance, which is very effective combined with turquoise enamels and gold and paste work. A deep, rich maroon effect can be procured by painting two coats of purple lustre over liquid bright silver. Orange lustre over ruby will produce a strong scarlet color. Orange over blue, dark green or olive, will produce greenish tints. Over iridescent rose, a good bronze tone is obtained. Over gold, it will produce a purplish bronze effect.

Yellow is generally used for mixtures with blues, greens and grays to produce lighter tones. It is a light color and is mostly used for this purpose and for backgrounds. For a strong yellow effect give several applications and firings.

A single application of light green is a greenish gray. A more intense effect results from several applications. Light green lustre is very popular as a tint used in connection with gold. That is, it is applied after the gold is fired. Rose over liquid bright gold produces a strong metallic effect. If pink or rose is overfired it will have a purplish tone. A soft pearl effect is obtained from a light wash of yellow or light green over fired rose. A background of rose is most effective for paste and gold work.

Blending of blue, pink and gray are found in iridescent rose which can be used with very satisfactory results for a background, and inside of cups and bowls. Padding is not necessary as the more irregular the tint is applied the more striking will be the effect.

Copper, dark green, steel blue and purple must be well protected from dust and humidity, or they will become spotted in firing.

Opal and Mother of Pearl will not always fire successfully. They are not, however, wholly unreliable, but have a tendency to fire off.

Yellow pearl is one of the very beautiful iridescent colors, with a variety of light and deep tones.

Two fired applications of ruby purple will make a very deep tone. It is very effective when used with paste and gold work. A fine iridescent, deep green background for gold, is obtained by firing light green over ruby.

Steel blue, as a rule, is a very pleasing transparent color, but it will sometimes fire iridescent dark greenish gray. It combines well with silver and black for conventional designs. A wash of yellow over steel blue will give an oxidized silver effect.

Copper is used successfully over gold lustre. Very pleasing combinations of colors are produced by applying enamels over unfired lustres. They assume a pinkish cast in firing.

Copper decorations on lustres are more satisfactory if the lustre is fired. It can, however, be applied over unfired lustre if it is perfectly dry. Lustre applied over India ink will fire off. Very pleasant and delicate effects are obtained by outlining with gold and pen over lustres.

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MATT COLORS

Matt colors are opaque and are usually used for backgrounds, in which case they are usually applied by the dusting process, although they may be used exactly as china colors are. After being fired the surface assumes a velvety effect and looks like unscoured gold. Sometimes they are used with ordinary colors. They can be mixed with them but when used in this way they are inclined to lose some of the natural dullness. These colors will stand an unusual amount of firing without fading.

Matt colors can be mixed with white and used the same as oil colors.

If a fine bronze effect is desired, it may be had by stippling gold over fired Matt colors.

It frequently happens that after these colors have been fired, they will rub off, especially, if they have been laid on too thick. In this case make a mixture of a small amount of vitrifiable china tint and the Matt color, making a light wash, and this will fasten the ground. This wash may be blown or stippled on. It may be applied with a shader if the colors are not too soft.

Paste and gold may be applied over fired Matt colors. Roman or unfluxed gold may be used over paste, but unfluxed gold must be used if applied directly on the color.

As these colors are opaque no design will show through when fired. Consequently if any design is to be applied to these colors, it must be cut out. (See cutting out.) Vitrified china colors are used over fired Matt tints—and silver can be used over Matt colors.

These colors cannot be used successfully on such articles as table ware, as they will not stand a great amount of washing. They retain grease, etc., and would soon lose their beauty.

Matt colors are made by adding a certain amount of oxide of zinc to china colors. A little experimenting will tell the decorator what proportions to use. Grind these well together with turpentine—and dry before using. Different makes require different proportions.

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BANDING

A steady hand and practice are necessary to acquire good results in banding and lining. The best results are obtained with the “Star” Banding Wheel. Operation of the wheel is very simple. Three centering buttons move together automatically, bringing the article to the exact center and holding it in an unmovable position. These are adjustable and can be raised to hold in position bowls, vases, etc. A large amount of valuable time is saved by using the “Star” Banding Wheel. It is easily manipulated by the most inexperienced and is practically indestructible.

Do not move the brush around the china. By resting your arm on a support you can turn the banding wheel slowly and keep the brush in a steady position, and touch the china lightly.

A good brush is necessary to make a band, but a thin one is used to make a small line.

The colors must be kept in a half liquid state. In this state they flow easily and an even line is the result. The brush should pass over the same line several times.

Bands are made with grounding oil so they may be dusted with powder—the same as in the ground-laying process. This is preferable to using wet colors for a broad band. With this process the band is even and glazy. A cut liner is used for lines and edges. This brush is best for this work as it carries the large quantities necessary for a long line.

Perfect lines must be made with one stroke—as several short strokes are sure to appear blotchy. When lines are made of gold or silver, the metal used should be more liquid than when used in painting.

A compass, with a ruling pen, can be used for making lines. China color made liquid with diluting medium is used.

Lines may be drawn around the edges of bowls, plates, saucers, etc.

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OXIDIZING OF COLORS

Different metals are used as a basis in producing various colors. Iron is the basis for flesh tints, reds and browns. Less iron (in proportion) is used for yellow and green.

Gold and tin are used as the basis for pinks, roses, carmines, blues, purples and violets. In mixing colors of iron basis with those of gold and tin basis the lustre and brilliancy is sometimes impaired. Experience will show that purple (which has gold or tin as basis) mixed with black or brown (iron basis) sometimes loses its glaze, on the other hand the same purple will, as a rule, keep its glaze if mixed with dark green, owing to the fact that greens have a smaller per cent of iron. The combining of the two basic metals causes the oxidization, and this difficulty is hard to remedy. A scroll of gold or silver is quite a help in this dilemma, they being opaque, defects are easily covered. Satisfactory tints can be procured by mixing colors of iron basis as one class and those of gold and tin basis as another.

A piece of china will sometimes come from the kiln with a perfect glaze, but soon loses its lustre and becomes Matt. This may be due to the fact that the color is too heavy and not fired long enough.

The china being porous absorbs the natural moisture in the air and appears to be oxidized. This can be removed with soap and water. Refiring will prevent a recurrence of this condition.

Special care should be taken with such colors as purples and browns, that too much oil is not used in mixing. It has a tendency to produce a dull, undesirable appearance. Keep the colors as dry as possible.

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GLAZING OF UNDERFIRED COLORS

Even though every precaution known to the art has been observed, the artist will be puzzled in taking from the kiln pieces that have been fired in a way anything but satisfactory or as he expected. It is frequently the case that his best pieces are underfired. Knowing the danger of _over_ firing, he is liable to make this mistake. Should this happen, it is not well to refire china without going over the work with a thin coat of color. This should be fired at the same heat as would be used in the ordinary glaze. In case you do not need to go over the whole decoration, the fired colors could be covered lightly with a coat of enamel oil, or mixing oil and turpentine. Let this coat dry, padding it well, after which dust it with white flux or ivory glaze. The desired glaze will be produced by the powder adhering to the oil. Fire again with ordinary heat.

A glaze cannot be produced on underfired china by using a coat of lustre, but instead it will be found that this china will absorb the glazy substance of the lustre. This has a tendency to change the colors and produces a frosted effect.

Sometimes white lustre will retain its glaze over a lightly fired tint, but we suggest that the decoration be retouched after the colors are very dry, and powder it with ivory glaze. Pure glazes or fluxes mixed with oil should never be applied over the unglazed decoration—as it will invariably destroy the colors. A rough surface can be improved by rubbing it gently with very fine emery paper.

You will find that a good oil for glazing is made by the turpentine in the cup, that you use for washing brushes. The glazy qualities are produced by the fluxes of the colors. Great care should be taken to see that this oil is clean. After giving the underfired decoration a light wash, pat well. Fire in the usual way after it is thoroughly dry, and a very satisfactory glaze will be obtained.

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CHIPPING OF COLORS

There are many reasons for colors chipping, but it is probably due more frequently to the careless application of color than to any other cause.

Sometimes, and in fact quite frequently, it is due to imperfections in the china. A frequent imperfection is that the glaze is very thin and in firing the colors cannot adhere to it.

Less trouble, however, is experienced with the light colors, such as yellows, grays, blues, reds and light greens. While in the darker colors, the browns, dark greens, purples, etc., it is found that they are more liable to chip off.

Then too very hard china gives more trouble than a softer ware, such as English or Belleek.

Artists frequently think that thick colors will produce heavier tints. This is not so. The mistake is a bad one. The colors will not only chip off very soon, but will lose their brilliancy. The only sure way to meet with satisfactory results is to apply the color very evenly, avoiding lumpy strokes.

If colors are well mixed and perfectly smooth and free from grit, there is very little danger of chipping.

The most objectionable feature in china painting, and we might say hopeless one, is chipping, as there is really no good way to remedy it. The nearest thing to a solution that we can offer is to fill in the chipped place and refire—but the glaze will never be quite the same. The great danger in refiring is that some other part of the decoration may be marred in the same way. Whenever the chipping occurs in a place that can be covered with enamel or paste and gold, it is best to remedy it in this way.

One way to remedy it, and to avoid the necessity of an extra firing, is to mix the powdered color with copal varnish and apply it thickly over the chipped places. This looks fairly well and will remain brilliant for some time.

Another difficulty that may be experienced is blistering. The cause of this is bad oil. In this case the color will not chip off, but it will shrink. This condition is hard to remedy but a small amount of oil of cloves added to the mixing medium will prevent it.

In decalcomania or transfer work, blistering happens very frequently. This happens because the transfers have not been washed sufficiently, and thoroughly dried before applying. This may be prevented if a wash of oil of cloves is used, over the dry transfer, dabbing it on with a slightly moistened pad. It is absolutely necessary that the transfers should be free from any trace of moisture.

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ENAMEL WORK

One of the most essential features in this work is to have the enamel of the right consistency. There are many good enamels in the market but we have found that Aufsetzweiss in tube or powder form, makes a very satisfactory white enamel.

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.

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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.

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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.

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=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

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=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

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=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

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=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

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=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:

1 Vial Best Black
1 Vial Banding Blue
1 Vial Copenhagen Blue
1 Vial Yellow Brown
1 Vial Auburn Brown
1 Vial Yellow Green
1 Vial Apple Green
1 Vial Deep Blue Green
1 Vial Brown Green
1 Vial Poppy Red
1 Vial Rose
1 Vial Ruby Purple
1 Vial Blood Red
1 Vial Albert Yellow
1 Vial Lemon Yellow
1 Vial Imperial Ivory
1 Vial Violet
1 Vial Oriental Ivory
1 each square shaders, Nos. 2, 4, 6, 8
1 each pointed shaders, Nos. 3, 5, 7
1 each long pointed shaders, Nos. 2, 4, 6, 8
12 Brush Handles
1 Tinting Brush
1 Steel Palette Knife
1 Sketching Pencil
1 Covered China Palette
1 Mixing Palette, Japanned tin
1 Bottle Mixing Medium
1 Bottle Turpentine
1 Bottle Outlining Ink
1 Sheet Tracing Paper
1 Sheet Graphite Paper
1 Box of Hibbard’s Roman Gold
1 Plate Divider
1 Instruction Book
18 New Process Outline Designs

Outfit No. 3, net wholesale price $6.70

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Transcriber’s note:

Underscores have been used to denote italic passages; equals signs
represent bold text.

Page 5, ‘green’ changed to ‘greens,’ “with greens and blues”

Page 6, ‘turqoise’ changed to ‘turquoise,’ “by mixing turquoise
blue”

Page 6, Conventional Style Painting illustration moved to page 7

Page 9, comma inserted after ‘Yellow,’ “Albert Yellow, and Sea
Green”

Page 10, comma added after ‘Berries,’ “Berries, Silver Lustre
centres”

Page 18, ‘Currents’ changed to ‘Currants,’ “Currants of a lighter
red”

Page 21, ‘flesh-shadow’ changed to ‘flesh shadow,’ “touched up with
flesh shadow;”

Pages 21 and 22, all instances of ‘soft-flesh-tint’ changed to
‘flesh-soft-tint’

Page 24, ‘ground laying’ changed to ‘ground-laying,’ “the art of
ground-laying.”

Page 25, ‘decorater’ changed to ‘decorator,’ “Here the decorator is
cautioned”

Page 25, comma inserted after ‘medium,’ “medium, heavy or light
ground”

Page 28, ‘drys’ changed to ‘dries,’ “if the color dries”

Page 31, ‘Then’ changed to ‘When,’ “When tinting with”

Page 32, ‘and’ changed to ‘any,’ “any diluting medium can be used”

Page 32, ‘of’ inserted, “oil of lavender”

Page 34, ‘a’ inserted, “end of a brush handle”

Page 34, ‘is’ changed to ‘are,’ “two applications of silver are
necessary”

Page 36, ‘gold’ inserted, “If liquid bright gold is used”

Page 38, ‘no’ changed to ‘not,’ “use tissue paper, not cotton.”

Page 39, ‘hydrofloric’ changed to ‘hydrofluoric,’ “removed with
hydrofluoric acid.”

Page 43, ‘star banding wheel’ changed to ‘the “Star” Banding
Wheel,’ “with the “Star” Banding Wheel”

Page 43, ‘The operation of’ changed to ‘Operation of the,’
“Operation of the wheel is very simple.”

Page 43, ‘the’ inserted, “by using the “Star” Banding Wheel.”

Page 44, ‘botchy’ changed to ‘blotchy,’ “are sure to appear
blotchy.”

Page 45, comma inserted after ‘roses,’ “pinks, roses, carmines,
blues,”

Page 45, ‘matt’ changed to ‘Matt,’ “loses its lustre and becomes
Matt.”

Page 51, ‘that’ inserted after ‘colors,’ “colors that cannot be
produced are bought”

Page 51, ‘getter’ changed to ‘better,’ “enamels give better
satisfaction”

Page 51, ‘Beleek’ changed to ‘Belleek,’ “a slight one on Belleek
ware”

Page 64, full stop inserted after ‘Nos,’ “1 each square shaders,
Nos. 2, 4,”

End of Project Gutenberg's The China Painter Instruction Book, by Anonymous