George Erhart Balluff

“ 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. ”

“ 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. ”

“ MIXING OF THE CHINA COLORS There are many things of which the beginner in china painting should be reminded. It is most essential that he has clean tools and well mixed colors before attempting any work. To be sure poorly ground colors are more quickly and more easily prepared, but nothing but the very poorest results can be obtained from such haste.
After placing a small quantity of powder color on a clean slab and enough mixing medium to make a thick paste, blend the two together with a small palette knife, working with a rotary motion. ”

“ The beginner who has tried to follow these complicated methods has become discouraged in this very interesting and valuable art of china painting. Figure painting on china has been greatly admired and if a simplified and understandable method were taught, it would become one of the most popular styles of decoration. ”

“ It is well to use diluting medium to keep the colors moist, but use a regular mixing medium with colors. Oil of lavender is not practical as it dries quickly. Mixing oil is too thick.
Slow drying colors are essential in painting broad grounds. Very often time is needed for changes in designs. It is always necessary to have something to moisten the brush with while working—any diluting medium can be used then. Only a very little is necessary and no other oil need be used. For very slow drying add a drop or two of oil of cloves when mixing the colors. ”

“ For purple, violet color, maroons and pinks use light oil for grounds. It is difficult to remedy a scratch or imperfection on dusted grounds. If it is done with moist color and brush, bear in mind that dry powder applications fire much darker than colors applied moist with brush, and gauge the color accordingly.
For a brilliant effect, dust the unfired background with a flux or glaze. For warm colors such as browns, red and flesh tones, this is not necessary, but it will improve dark greens and blues. It is unsafe to try to paint over dry unfired grounds. ”

“ When using liquid bright gold or lustre, you can use a brush or pen, whichever you choose.
Outlining in color can be done over fired colors, golds, silvers and lustres, but be careful not to apply it too heavily or it will flake off.
You can outline in color over unfired dry tints and unfired, well dried Roman gold. The powder must be mixed with water when used over unfired lustres. The lustres would be spoiled if turpentine or oil was used as they spread too easily. The best thing to use in gold outlining is diluting medium with powder gold, but lavender oil is very good. ”

“ 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. ”

“ 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. ”

“ 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. ”

“ 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. ”

“ 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 effect will be improved and deepened by a dusting of colors when the tint is about dry.
The term “flushing” is sometimes used when tinting is used for a background.
GROUND-LAYING There is probably no feature in the painting of china that gives the student more anxiety than the art of ground-laying.
He is confronted by many difficulties, but when the art is mastered, feels well paid for all his work. The beautiful results are sufficient reward. A perfectly even and lustrous ground is obtained by applying powdered colors over a well padded wash of tinting oil. ”

“ TINTING In tinting china, the best results are always obtained by using freshly mixed colors. They work more easily and smoothly. A broad tinting brush or square shader should be used for this work—one color or a combination of colors may produce a tint. Apply the color as smoothly as possible, but if it is found to be not quite even, pad it with a cloth or pad. Some colors contain more grit than others—and are more difficult to pad. In applying such colors as yellow-brown, brown-green, apple-green, dark pompadour and pink, it is necessary to dampen the pad with mixing oil. ”

“ FRUIT PAINTING One of the important points of fruit—and flower painting as well—is the proper form of leaves. Some decorators fall into the habit of painting leaves of blackberries, currants, grapes, plums, etc., all in the same irregular and ragged manner for which there is no excuse other than lack of experience or painting leaves from memory. Above all we advise the student to study the different leaves carefully. ”

“ 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. ”

“ Nothing but unfluxed gold should be used with Belleek ware.
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. ”

“ 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. ”

“ 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. ”

“ The colors, as a rule, are more effective when laid on in flat tones. Shading is not at all common in strictly conventional work, and one does not necessarily adhere to the colors nature has chosen for the object which suggested the design.
Enamel and lustre are especially fitting to conventional design, and gold may often be used for flower or leaf form where in naturalistic painting it would be entirely out of place. ”

“ 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. ”

“ When blending, keep the palette knife as flat as possible, as there is danger of breaking it if bent too much. Mix well until the color is a smooth paste. It will be found well to put a small amount of the mixing medium in a small dish and use from that, rather than pouring it from bottle.
When thoroughly mixed, put the color on one side of the palette. Blend another color and place next to the other one on the palette. Proceed in this way until all the tints wanted are prepared. It will be found that some colors take longer than others to grind, owing to their stony nature. ”

“ We find in gold work, it is safe to use liquid bright gold for the first firing and Roman gold for the second. Liquid bright makes a good foundation for Roman gold and makes a good wearing combination. It is not well to use unfluxed gold on hard china as it rubs off very easily. Roman gold is used for this china and hard or unfluxed gold on the softer wares, such as Belleek. ”

“ 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. ”

“ Background of Mother of Pearl Lustre or Oriental Ivory painting color.
Bittersweet. Some of the berry forms Yellow-Red, others Albert Yellow mixed with Pompadour. Moss Green is a very good tint for upper leaves and Apple Green mixed with a touch of Deep Purple for lower leaves; a touch of Black may be added to this mixture for darkest leaves. Auburn Brown should be used for stems. Background of Oriental Ivory mixed with a touch of black is effective for such an arrangement. If the design is a panel effect bordered with bands, Gold may be used to good advantage for bands. ”

“ 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. ”

“ It is very necessary to remember one thing in burnishing gold. If any of the glass fibers are allowed to remain on the decoration when the article is undergoing a second firing, they will eat the colors, and the work will be nearly if not quite spoiled. ”

“ The various colors for painting hair as treated above may be mixed with other colors to suit the preferences of the artist.
It is well to remind the decorator here that the one great fault that the artist has to guard against is, using too strong a red for faces. Use flesh tones and light grays sparingly and bear in mind, never use yellow as it produces a disagreeable effect. Nude figures are painted according to the same methods as explained for painting faces. Brunettes require stronger shadows and grays, but the flesh-soft-tint is used for both light and dark complexions. ”

“ 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. ”

“ 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. ”