That is the
wonderful part of working in oxides and metallic colors. The beautiful
hues we see on china or glass are the result of years of
experiment. Never forget that. All china decorators have constantly to
bear in mind the effect of a high temperature upon their colors. What
would be attractive on the unfired clay might emerge from the kiln a
very ugly product indeed. We must reckon on this fact."
Theo nodded.
"It must make the decoration of china a great problem," he said.
"It does. However, decorators have now learned pretty well what to
expect. A certain carmine, for example, fires out violet. Many other
shades fire lighter or darker than when applied, and allowance must be
made for them. The girls who paint china become very skilful in
estimating the changes in colors. These who are working beside us are
doing the finest sort of porcelain decoration--faces, figures, and
flowers. Those across the aisle are doing a vastly different type of
work. They are putting coarse, sketchy flowers on the cheaper
ware. Some of them, you will observe, are filling in designs that have
either first been printed, or transferred by the decalcomania process,
and must afterward be finished by hand.
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