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/ l^ays Qolors. 
 
 * * 
 
 ohannes chumacher’s 
 
 JMEW METHOD AND JEGHNIQUE 
 
 ^tyipa paitytii?^. 
 
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 A complete description of an en= 
 tirely new system of China Colors 
 which enables artist and amateur 
 to employ any technique that may 
 be used with oil or water colors ; 
 together with instructions for pro= 
 ducing any intermediate tint de= 
 sired by blending primary colors; 
 also directions for firing, tinting, 
 grounding, etc 
 
 i 
 
 / l^ays ^tyipa Qolors. 
 
Entered according to Act of Congress, in the year 1898, 
 By JOHANNES SCHUMACHER, 
 
 In the Office of the Librarian of Congress at 
 Washington, D. C. 
 
 EDEN PUBLISHING HOUSE PRINT, ST. LOUIS. 
 
 THE GETTY CENTEt 
 
 library 
 
(I ntreduction 
 
 
 To tip skilled artist everything coptaiped ip 
 tip followipg pages is opep to sirpple proof; all 
 that Ip lps to do, is to buy a set of X Rays 
 Colors apd a placqite, apd proceed to derpop- 
 strate for t\irpself tip trath or falsity of tip 
 clairp set Up by Mr. Schaipaclpr, to-wit: 
 
 THAT HE HAS PRODUCED A SYSTEM 
 OF PORCELAIN COLORS WHICH CRN BE 
 TREATED AS OIL AND WATER COLORS ARE 
 HANDLED, 
 
 Tipis at ope boilpd porcelaip paiptipg rises, 
 tlpoagh X Rays Colors, frorp beipg tip Ippd- 
 rpaidep to paiptipg, to fall sisterhood, 
 
 For tip aipatear it is oply pecessary to tape 
 tip priipary X Rays Colors apd ipix tiprp as 
 directed, apd ip too Will fipd tipt ip s release 
 froip tip distractipg parpber of tipts ip separate 
 tabes I\as coipe, He Will learp to rpape ip s owp 
 tipts, develop ip s °wp color sepse, apd apder 
 corppetept gaidapce grow ipto ap artist, 
 
 Need apytippg rpore be said tipp this, that 
 by the ipethods h ereir l described the gepias of 
 a Lehpbach or a Boagereaa, ipstead of beipg 
 exercised op a capvas Which fades tfpoagh the 
 ceptaries, ipay be displayed as iipperisipbly as 
 the iparble of Praxiteles? 
 
 What this ipeaps the fatare will show. 
 

 / 
 
JV|ir|era] 
 
 AND GRAYE MISTAKES 
 MADE IN THEIR USE. 
 
 We are desirous of advancing china painting to 
 real high art, and have succeeded in producing a color 
 material that is manageable and yielding, that allows 
 of bold artistic application, and that can be handled in 
 the free characteristic style of the artist. 
 
 These colors can produce any brilliancy, depth or 
 variation of color existing in nature. Hence there is 
 nothing to prevent china painting being high art. 
 
 Hitherto china painting rested entirely upon the 
 dexterity of the hand in overcoming a difficult tech- 
 nique. But this dexterity was dependent upon rules 
 wholly inconsistent with art. Under such restrictions 
 it is impossible to reproduce nature. The difficult 
 application of the old china colors caused a want of 
 blending power, and this made us dependent on the 
 manufacturer for a variation of shades of different 
 colors. 
 
 Consequently all directions for china painting were 
 more or less of a mechanical nature, applicable only 
 to china painting. 
 
— 8 — 
 
 X RAYS COLORS. — Continued. 
 
 With X Rays colors can be exhibited an original 
 technique as with oil or water colors, and our coloring 
 will evidence the cultivation of our color sense. The 
 skill and taste of the artist using X Rays colors is 
 restricted only by such laws as drawing and artistic 
 culture prescribe. The allowances made to the material 
 are not at the expense of art. 
 
 In what follows concerning our method of teach- 
 ing, we are desirous to give in the smallest possible 
 compass reliable and practicable information, which shall 
 form a foundation from which individual talent, taste, 
 sense of color, etc. may develop indefinitely and inde- 
 pendently. China painting is by reason of its deco- 
 rative qualities and its looking pretty, without requir- 
 ing an art education by the amateur, an especial field 
 for him. With X Rays colors there are no technical 
 
 * S* 
 
 difficulties to overcome, and the amateur will find his 
 work interesting and successful. 
 
 In order to fully explain to the user of china col- j 
 ors the cause and nature of his difficulties in hitherto 
 securing certain and reliable effects, a brief explana- 
 tion of the process of making the colors is given as 
 follows : There are three kinds of china on the market, 
 English, French and German, all differing from each 
 other in many important respects. The English is the 
 softest, the German the hardest, French occupying the 
 middle ground. Now the glaze and flux of each kind 
 is not only different from the others, but the German 
 
X RAYS COLORS. — Continued. 
 
 and French require more heat than the English. There 
 have been three makes of china colors on the market, 
 German, French and English, which are based to go 
 with the respective china. German colors with Ger- 
 man, etc. 
 
 The china painter was usually in some such situ- 
 ation as the following: His placque or other object to 
 
 be decorated was, say of German make. His colors 
 were a mixed lot of German, French and English 
 paints. As the glaze and flux of the placque was 
 identical in its firing requirements with only a part 
 of his colors, the reason for indifferent and unlooked 
 for color effects must be plain. 
 
 MR. SCHUMACHER makes his own base, and 
 it fluxes perfectly with all three kinds of porcelain. 
 All his colors have the same base, and hence only 
 ten colors are necessary to the artist, as he makes his 
 own tints and shades by blending the primary and 
 secondary colors, proceeding just exactly like the 
 painter on canvas or with water colors. 
 
 China colors are made from different materials, 
 decomposed and prepared to fuse with the glaze of 
 china when fixed together. The innovation in X Rays 
 colors is in this, that they are made from a common 
 base to mix with one another, and that they flow 
 freely from the brush, permitting the hand to have 
 entire control. 
 
 Heretofore china painting was a laborious under- 
 taking so far as laying on the color went, and de- 
 manded a great deal of patience and practice to over- 
 
10 — 
 
 X RAYS COLORS. — Continued. 
 
 come the difficulty of getting the color laid on equally 
 and not blurring or spotting the whole design. Infi- 
 nite labor was spent on a subject to produce some- 
 thing like the idea in the mind, as one was obliged 
 to square the idea with the means of its execution, 
 and the hand had to master the material. 
 
 X Rays colors yield immediately to the painter’s 
 hand, and amateurs using them will not be disgusted 
 with the overwhelming difficulties presented by ordi- 
 nary china colors. X Rays colors are recommended 
 in ten (10) colors only. 
 
 Mr. Schumacher does away with the need for the 
 one hundred and fifty different colors advertised by 
 well-known firms. How is it possible for an artist fo 
 paint and keep in mind such a distracting variety of 
 colors? He can never be their real master, and good 
 results must largely be a matter of chance. X Rays 
 paints are enriched from their own bases or elements, 
 and not by admixtures of one ready powder with 
 another. 
 
 Colors to be reliable for art work must be ho\no- 
 geneous. A mixed or composite color, however bright 
 it may appear, is very unreliable for painting a pic- 
 ture, though it may answer for simple decorative pur- 
 poses. (For the latter, the decorative uses, X Rays 
 paints are prepared dry in powders or ready mixed 
 with oil, in different tints, to meet the requirements of 
 dusting or tinting or what pertains to decorating.) 
 
 Of what advantage are mixtures of bright or rich 
 tints if you do not understand their composition, and 
 
— 11 — 
 
 X RAYS COLORS.— Continued. 
 
 hence can know little of their possibilities, and even 
 that little with feeble certainty. Each color in our 
 palette should be pure and rich from its base, so we 
 know yellow to be yellow, and green to be green. For 
 example, a ready mixed color, say moss-green, is dead. 
 To produce moss-green as the artist achieves it on his 
 canvas, one color is first laid on, a green, upon which 
 an ochre is laid, and thus he continues according to 
 his skill and taste until the desired moss-green effect 
 appears. 
 
 There are no tints in nature, only primary colors. 
 So-called tints are but the effect of light and shade upon 
 the blending of primary colors. A green leaf is com- 
 posed, not of one dead color, but of a hundred varying 
 tints. The greatest painters use the fewest colors. If 
 for convenience we have one or two colors that are 
 mixtures, we must know and understand them. We 
 can study the combinations of the few primary colors, 
 how they mix and blend, but we cannot possibly un- 
 derstand the mixtures of mixtures, and it requires but 
 the slightest knowledge of colors to see that these latter 
 can not result in a clear transparence. The wretchedest 
 confusion of mind comes from the dealer’s warning that 
 a color based on gold must not be mixed with one based 
 on iron, and from the dictum of the artist that only pure 
 colors will mix, when we do not know which colors in 
 the collection are pure. Under such conditions how is 
 art possible? A simple illustration will show the revolu- 
 tion wrought by X Rays colors, which may boldly claim 
 to have raised china painting from an industrial pursuit, 
 and the employment of the dilettante to the dignity 
 of full sisterhood in the fine arts. 
 
— 12 — 
 
 Painting P urple ID rape 
 
 With the old paints, the choice is between at least 
 a dozen purples. We make our selection of the partic- 
 ular purple, and put in the grays as directed. The first 
 difficulty encountered is that we can not work them as 
 we please. Where we wish the color to he heavy we can 
 not get it smooth. It will be tacky, get blurred, and the 
 patience will be severely taxed. An amateur rejoices 
 when at last he has succeeded in making some of the 
 paint stick, and if this is half way smooth. The trouble 
 caused by the laying on of the color completely dis- 
 tracts the attention from the drawing, and results in a 
 loss of all form. The subject comes from the kiln pale, 
 so more of the same color is put on and the subject is 
 fired again, the same process continuing till the desired 
 depth of color is attained. The result is indeed purple 
 drapery : but hard flat purple without any of the tints 
 that nature delights to vary in, here a yellowish light, 
 there a greenish half-tone where the shadow is a reflected 
 light. We had not dared to put in these different tones, 
 because knowing nothing of the composition and nature 
 of the particular purple used, a green or yellowish color 
 put with it might produce some muddy gray. 
 
 In contrast, how easily is the following method with 
 X Rays colors understood : 
 
 We have ten (10) colors that we have learned to 
 understand. A careful perusal of the chapter, where the 
 values of each of the ten colors is described, will show 
 how to handle the two purples to obtain different degrees 
 of strength, depth and brilliancy. 
 
— 13 — 
 
 X RAYS COLORS. — Continued. 
 
 We lay on the pure elementary colors in masses in 
 the order and place in which they are seen in nature 
 or on our study. They are laid on heavily where we 
 wish them dark, lightly where delicacy is required. 
 Then we blend the whole without any difficulty, as we 
 would with oil colors, and the subject is ready for the 
 tiring. These primary colors are after the first firing in 
 a crude yet clear state, that can be improved upon, as 
 opposed to other china colors which generally look fin- 
 ished in tone before they are strong and deep enough. 
 A crude yet clear color can be heightened or darkened 
 and will retain transparency, while a finished tone will 
 lose transparency when more color is laid upon it. 
 
 For tfie second firing we heighten, tone down, 
 strengthen or deepen where we think necessary, to im- 
 itate nature or reproduce our study. 
 
 The colors admit of perfect blending, and there- 
 fore it is astonishing how quickly and easily the artist 
 is able to get in a great variation and transparent col- 
 oring. The teacher is needed where the worker lacks 
 judgment and when he must be taught to see right. 
 
^'he (Cjutfit. 
 
 palette, . . . 
 Brushes, and other } 
 Accessories. . . 
 
 Preparing Colors 
 Ready for Use, apd 
 Settiqg tiqe Palette. 
 
 The outfit of the china painter working with X Rays 
 colors consists of a China-Palette or Box-Palette, Knife, 
 Bottle of X Rays Medium, Brushes and Ten Jars of X 
 Rays Colors: Canary Yellow, Yellow Ochre, Blood Red, 
 Finishing Brown, Black No. 1, Carmine No. 1, Carmine 
 Purple, Purple, Turquoise Green and Turquoise Blue. 
 For ordinary china painting this outfit will answer. (The 
 use of other prepared colors, powder colors, enamels, 
 paste, grounding oil, etc. is explained later.) 
 
 An almost universal source of complaint among 
 china painters is the distracting variety of shades and 
 tints of each color, that the old makes of paints com- 
 pel the artist to buy and keep on hand, and yet they 
 do not see how, with so limited a palette as the X Rays 
 colors, all results can he achieved. 
 
 As the X Rays colors are all homogeneous, 
 made from the same base, each color will blend 
 with all the others, so that any and every shade 
 and tint can be produced. In short, treat these 
 colors exactly the same as you would oil or water 
 colors. 
 
— 15 — 
 
 THE OUTFIT. — Continued. 
 
 It is a grievous error that students of china paint- 
 ing are not taught to think while painting, and yet it 
 is an impossibility for an amateur to think when the 
 outfit before him contains eighteen kinds of green alone, 
 with almost the same number of reds, and a legion of 
 other colors and tints. It is impossible to steer through 
 these innumerable tints, tones and shades without par- 
 ticular direction for each. These directions are blindly 
 followed and a promised result expected. As for in- 
 stance, put on apple-green for a leaf, shade with chrome- 
 green, then put in the veins with some other green. All 
 this is on the same principle that young ladies learn 
 needle work : Four stitches of yellow-green, five of bright 
 red, etc., ad nauseam, and by exact counting and copy- 
 ing, the pattern is bound to come out all right. But 
 while the work is going on there is not the slightest 
 artistic notion of what is being done, no color sense, 
 no taste developed or displayed. 
 
 It is such method, or rather want of method, that 
 causes wearisome sameness in china decorating, the 
 chief difference in merit of the work being the varying 
 degrees of excellence of the drawing in the design. 
 
 Why not use one’s judgment and individuality 7 
 however simple the subject may be. We are aware that 
 many who undertake the decoration of china, have not 
 had the advantage of a preparatory art course, and can 
 therefore have but little judgment of colors. The first 
 requisite is a study of the nature and property of colors. 
 Based upon that, every time colors are handled, it 
 matters not how unpretentious the subject, there should 
 be a distinct effort at cultivating the judgment and de- 
 
 « 
 
— 16 — 
 
 THE OUTFIT.— Continued. 
 
 veloping the taste. With some instruction color can be 
 used freely, and one’s own mind direct the effort after 
 some experience, making one’s colors, for example: 
 We wish to copy a study of a green leaf, a warm brown- 
 green. Now we have on our palette a bluish green. 
 Green and yellow make a bright yellow-green. The 
 study shows the light green in the leaf more subdued, 
 carmine is a transparent contrary to green, by adding 
 which to yellow and green it does not darken nor make 
 the tone muddy, but simply tones down the intense 
 greenness. For shadows we find that finishing brown 
 and green give a dark green. However, this is too cold 
 a green for our purpose, so we add ochre, which makes 
 it a moss-green. 
 
 After firing should we find our rose leaf too gray, 
 all that is necessary is to brighten it by laying over a 
 pure green, or yellow and green. If on the other hand 
 we find that the leaf had fired too intense a green, we 
 tone it down by washing over a thin black, or carmine, 
 or ochre, or any other color we think will in combination 
 with the color already fired in, reproduce the color of 
 the study. It is surprising with what interest china 
 painting becomes invested, and what possibilities colors 
 are found to possess when this is understood, and how 
 quickly the learner advances, and how soon the eye is 
 trained to solve the most difficult color scheme. 
 
 white china box, consisting of a lid and a tile into which 
 small demi-spherical recesses are sunk to hold the col- 
 
— 17 — 
 
 THE OUTFIT. — Continued. 
 
 ors. The lid serves two purposes, as a cover to keep 
 the prepared colors fresh and free from dust, and as a 
 palette for mixing paints. 
 
 A most convenient way to arrange the colors in the 
 palette is in the following order: First row, canary- 
 
 yellow, yellow-ochre, blood-red, finishing brown and 
 black; second row, carmine, carmine-purple, purple; 
 third row, turquoise-blue and turquoise-green. 
 
 Take a quantity of color from each jar with the 
 palette-knife and mix on the palette-cover with X Rays 
 Medium, using about one-fourth oil to three-fourths 
 
 color. Then fill in the receptacles of the palette. It 
 is not well to use too much of the Medium as the colors 
 will become too oily, thus not working smoothly. Some 
 of the colors may he used just as they come from the 
 jars, while others will need a little softening. These 
 colors, when ready for use, should be of the consistency 
 of good fresh, soft oil colors. When the brush is dipped 
 into it, if the color is soft and short (it ought to heap 
 and hot run) it is all right, but if it pulls stringy after 
 the correct amount of oil was added, mix with it a drop 
 of turpentine. It is false economy to mix only small 
 quantities of color, as the color cannot keep fresh as 
 well, and further it cannot be so freely used, as is the 
 idea with these paints. A palette arranged according to 
 above directions will keep fresh and soft for several 
 weeks, and thus the colors are always ready for use 
 without any “working up”. If the palette has not been 
 
 Preparing 
 
— 18 — 
 
 THE OUTFIT.— Continued. 
 
 used for some time and the colors have become stiff, 
 they should he softened with turpentine only. No more 
 Medium should be used, as the colors will become oily 
 and not work freely. It is highly important that palette 
 and brushes be kept in good order. With the tools in 
 had shape creditable work cannot be done. 
 
 Those best adapted to these colors are the flat 
 Russian Sable X Rays brushes and the Red Sable oil 
 brushes. Of the Russian Sable, No. 4 flat, is used for 
 blending, also for laying in color over a large space. 
 No. 3, 2, and 1 are used for smaller wbrk. Red Sable 
 brush, flat, No. 8 is used for touching up the forms where 
 the short broad brush would he clumsy. 
 
 Red Sable, round, No. 7 is used for outlining fin- 
 ishing touches or to accentuate the drawing. Fitch 
 stippler, deerfoot shape, No. 6 or No. 8 is of assistance 
 in smoothening heavily laid-in back grounds. 
 
 Another accessory is a steel color eraser, in place 
 of which a common pen-knife may be used. Crisp high 
 lights or hard lines may be scraped out with these from 
 a painting that has been dried. A serviceable erasing- 
 pin can he made from a sewing needle, fastened with 
 thread into an old brush handle that has been slightly 
 split. 
 
general ^ -Remarks 
 
 # * 
 
 ABOUT MIXING COLORS. 
 
 CHNHRY-YELLOW. 
 YELLOW-OCHRE. 
 
 BLOOD-RED. 
 
 FINISHING- BROWN* 
 
 BLHCK No, 1. 
 
 CRRYLINE. 
 
 CRRMINE-PURPLE. 
 
 PURPLE. 
 
 TURQUOISE-GREEN. 
 TURQUOISE-BLUE. 
 
 According to quantity of each color used in mixing 
 two or more colors, one or the other will dominate, and 
 equal parts of contrary colors, as green and purple, 
 neutralize each other, those mentioned producing a cold 
 gray. The exact quantity of different colors to be com- 
 bined to produce a certain tint cannot be given. With 
 some little experience judgment can be easily attained. 
 Colors applied in thin washes will insure delicacy; any 
 pure color laid on heavily will fire extremely brilliant. 
 Colors are generally darkened with black No. 1, and 
 finishing brown, when they yield a dark but subdued 
 shading color that is indispensable. If a chosen color 
 has been deepened with finishing brown and has not 
 turned out brilliant enough to suit our design, we carry 
 the chosen color bright and unsubdued, graduated to 
 
 'Table of (Colors 
 1 tfeir 
 
 anc 
 
 escri 
 
 ptioq. 
 
— 20 — 
 
 MIXING COLORS. — Continued. 
 
 meet the requirements, upon this dark undertone and 
 give it another fire. After firing, this dark undertone 
 will shine through the bright color laid over and render 
 it deep, but does not lessen its lustre. 
 
 Should the amateur by mistake have used too 
 much of one or the other color, in trying to produce a 
 certain tint, and this color after firing stand out vividly, 
 there is no need for worry or to deem it spoiled, all he 
 has to do is to lay on a pure contrary color till it is 
 deadened. In this way a shade that has been too 
 purple in the first fire can be turned into an ochre, 
 red or other desirable tint. There is no danger of failure 
 as any tint procured by the artist, if it he clear, can 
 he counter-balanced, enriched or softened by another 
 color. With the following suggestions about the table 
 of color great effects can be obtained with skillful hand- 
 ling. Whatever is true of mixing one color with an- 
 other, can be said of laying over one color with another, 
 and the result will be the same. Two or more colors 
 used in combination to give a certain tint, will also 
 give this tint if each of the colors be laid in pure and 
 successively after as many firings. 
 
 The colors are then qualified in applications, that 
 is, a thin wash is given of one and a heavier one of 
 the other, according to the tint to be secured. Great 
 variation of color is achieved as much by mixing dif- 
 ferent tints on the palette as by successive washing and 
 blending in of different colors. This latter is called 
 glazing in oil painting. A second color is laid over the 
 first color for the purpose of strengthening, reducing, 
 or neutralizing its lustre. 
 
21 — 
 
 MIXING COLORS. — Continued. 
 
 X Rays colors admit of being laid in very heavily 
 and can therefore be said to be also opaque. 
 
 In the old china colors, when one color was laid 
 over another, the amateur was seldom successful in ob- 
 taining clear transparent effects. The result of much 
 exertion in this direction generally was a muddy woolly 
 appearance. The cause rested in the impure color used 
 and in the color being difficult to blend in smoothly. 
 These evils are remedied by the new colors, which are 
 pure and rich in quality and easily handled, the result 
 being unequaled in clearness and transparency. 
 
 Things requiring only one fire will not be wanting 
 of extreme brilliancy in purely decorative work. 
 
 Bright and pleasing effects are obtained with one 
 fire, but brilliancy and depth should not be aspired to 
 in one or two firings. AVhen great glow and depth of 
 color is needed we also want great variation of color, 
 and variation is produced by glazing. 
 
 In the following table of colors valuable suggestions 
 about mixing colors to produce varied tints are given. 
 After some experimenting a clever hand can obtain 
 truly striking results. 
 
 When used in a thin wash canary-yellow will give 
 an ivory shade ; if used thicker a very brilliant tone . 
 Yellow and ochre give an orange color; yellow, ochre 
 and blood-red yield a very deep orange; yellow-ochre, 
 blood-red and finishing brown, a deep yellow-brown. 
 Yellow in X Rays colors is almost a substitute for 
 
MIXING COLORS. — Continued. 
 
 white as in oil paints. It heightens the lights upon 
 any dark drapery that has become too dark. 
 
 With yellow and a speck of green we can heighten 
 the lights of leaves or bring out little blades of grass 
 that have not been scraped or left out. 
 
 Mix the local tone of flesh color of yellow, a little 
 blood-red and less carmine-purple. The local tone of 
 white flowers or white draperies receives beautiful soft- 
 ness and warmth by a thin wash of yellow and carmine- 
 purple (using less of the carmine-purple). Yellow and 
 carmine give a desirable shade in a pink-rose. Yel- 
 low that has been fired too bright is subdued by a thin 
 wash of carmine or carmine-purple. Yellow is indis- 
 pensable in combination with green or blue, and will 
 furnish a number of bright greens. 
 
 'felloW-Qcl] 
 
 re. 
 
 * * * 
 
 Ochre is a strong color, and when used by itself, 
 that is if an ochre color tint is required, should be 
 broken with one of the other colors. 
 
 In general, ochre should be used in very small 
 quantities with other pure color, to break the latter, 
 that is to lessen the intensity, as for instance, a little 
 ochre with purple will take away the obtrusiveness of 
 the purple color. 
 
 Carmine -purple and green in equal parts give gray 
 used in flesh tints, and should be broken with a little 
 ochre. Ochre mixed with green or blue in different 
 quantities will give various shades or warm green. 
 
MIXING COLORS.— Continued. 
 
 Ochre may be mixed with any dark shade that is 
 to be laid on heavily. In such composition it will lend 
 an indescribable mellow hue to the tone. Ochre is also 
 used to indicate reflection in painting flesh or any 
 other object to express rotundity. 
 
 Blood -Red. * * * 
 
 Blood-red is chiefly a flesh color. 
 
 A little blood-red and less carmine-purple added to 
 canary-yellow gives the local flesh tone. The warm 
 half-tones in flesh, such as are about the eyes, cheeks, 
 lips, nostrils, knuckles, etc., are indicated with blood- 
 red and a little carmine-purple. 
 
 A little blood-red added to carmine will give the 
 latter body. Blood-red, carmine, and carmine-purple 
 (in about equal parts) are happily combined to produce 
 a rich geranium color. 
 
 Blood-red can be said to be opaque when used 
 heavily. Laid over a dark undertone it will stand or 
 cover this entirely in the manner of oil paints. The 
 scale of reds obtained in mixing blood-red with yellow, 
 yellow-ochre, finishing brown, black No. 1, carmine, 
 carmine-purple and purple is quite equal to any decora- 
 tion required. In painting purple drapery it contributes 
 much to the rich effect. 
 
 Finishing B^o^n. * * * 
 
 Finishing brown is a mixture of different colors, and 
 is convenient to have ready for use. The use of finishing 
 brown is explained by its name. On a portrait the fin- 
 
— 24 — 
 
 MIXING COLORS.— Continued. 
 
 ishing touches are put in with it. The drawing of eyes, 
 nose and lips is strengthened with finishing brown. 
 
 The small forms of hair are worked out with it. 
 It is also used to deepen or darken any of the other 
 colors. When any color has been rendered dark enough 
 with finishing brown, it is sometimes not brilliant 
 enough. A wash of the pure color, with which the 
 finishing brown was used, should then be given. 
 
 When used heavily, finishing brown is opaque. It 
 should not be used by itself as a thin wash for a local 
 tint. When painting flesh or other subjects which are 
 quite finished in tone, but have places that need patch- 
 ing and the drawing demands accentuating, this is done 
 with finishing brown. 
 
 Black J\|o. 
 
 5 ^ ^ ^ 
 
 Black is a very important color. When used heavily 
 it is quite opaque. Some black No. 1, mixed with 
 turquoise-green, gives very recommendable dark green. 
 
 A cold gray is made from black and blue. As a 
 glazing color black renders excellent service. 
 
 As in oil colors every pure color should be modi- 
 fied by a different color: for example, flesh tones as 
 first united are too intense, hence it is necessary to lay 
 over them a very thin black wash when they become 
 life-like. This wash is applied for the last firing. 
 
 Thus can beautiful atmospheric effects be achieved. 
 Without such modification colors are flat and dead. An 
 intense deep and brilliant black is supplied by adding 
 a little purple to black. 
 
^ ^ * 
 
 Carmine is chiefly used in painting flowers. It 
 can he laid on heavily or thin, depending upon the 
 brilliancy and delicacy striven for. 
 
 Carmine mixed with canary-yellow and turquoise- 
 green or green alone, yields a very soft gray for leaves 
 and flowers. Too glaring yellow-green is reduced by a 
 thin wash of carmine. Very happy results are obtained 
 from carmine No. 1, black No. 1 combined, to give a 
 final glaze to the shadow side of pink roses. 
 
 Purple is a strong color. Blue or blood-red or 
 ochre or carmine will give purple a flush, according to 
 the kind of purple aimed at. Blue will make bluish- 
 purple and ochre, golden purple, etc. Very dark purple 
 is obtained by mixing purple, finishing brown and a 
 little black. Very rich purple is made by washing over 
 this dark purple, with pure purple or purple mixed with 
 blue or blood-red, etc., according to the particular tone 
 the purple is wanted to incline. Blood-red, turquoise- 
 blue and purple will furnish a tone corresponding to 
 the color known as deep violet of gold. 
 
 A little purple added to black No. 1 will give in- 
 tense richness to the latter. 
 
 Turquoise-blue and turquoise-green are the only 
 colors that are cold. Turquoise-blue is put to the same 
 use as cobalt-blue is in oil or Avater colors. The atmos- 
 phere between eye and object or the interspace that re- 
 
 * ^ 
 
— 26 — 
 
 MIXING COLORS. — Continued. 
 
 lieves one object from another is best expressed by blue. 
 In every background we should use some blue or green. 
 It is a matter of individual perception or artistic inde- 
 pendence to decide to use turquoise-blue or turquoise- 
 green in reproducing atmospheric effects. 
 
 We obtain the various tints of violet shades in 
 mixing blue with carmine and purple. 
 
 'Turquoise-GIreeq, 
 
 % 
 
 Turquoise-green is a strong color. It does not 
 change materially in firing when used pure or inter- 
 mixed with other colors. In different combinations 
 with any of the other colors it furnishes the entire scale 
 of greens as seen in nature. 
 
 Green and purple gives a gray, much used in paint- 
 ing landscapes to indicate distances, and to bring forth 
 atmospheric tones. Turquoise-green mixed with canary- 
 yellow gives a yellow or apple-green; turquoise-green 
 and yellow-ochre provides olive-green; turquoise-green, 
 canary-yellow and blue supply moss-green; turquoise- 
 green and carmine-purple a cold gray; turquoise-green, 
 purple and black No. 1, or turquoise-green, yellow-ochre 
 and black No. 1, or turquoise-green and finishing brown, 
 each of these combinations yield a shading green. 
 
 Turquoise-green, turquoise-blue and black No. 1 
 equal a dark green. 
 

 rawing. * * 
 
 IMPRESSION PAPER, 
 TRACING, 
 
 OUTLINING, 
 
 PAINTING, 
 
 DRAWING arid TRACING. 
 
 Application of Color, 
 Blending, 
 
 LigEE Half-tones, Shadows. 
 Reflections, 
 
 Transmitted LigEt 
 Effects. 
 
 It is absolutely necessary for the amateur to trace 
 the subject to be painted on the china. Drawing figures 
 free-hand on china is impracticable, as wavering out- 
 lines and other obscure lines are unavoidable, and would 
 unnecessarily deface the china. We should have the 
 china clean and clear, and the subject delineated in 
 delicate but distinct outlines, and a few prominent 
 points indicated, that lend assistance in painting. If 
 the subject to be painted is an original design, draw 
 this on paper and trace from it. The artist will find 
 the X Rays colors excellent material for sketching with- 
 out previous designing. 
 
 Impression 
 
 For an impression it is necessary to lay transfer 
 paper between the tracing or drawing and the china. 
 The china should be rubbed off with turpentine or 
 medium, in order to give tooth to the impression. 
 
 The only serviceable transfer paper is made by 
 scratching with a knife a bit of lead from a pencil and 
 
— 28 — 
 
 DRAWING.— Continued. 
 
 rubbing it with the finger on a thin piece of writing 
 paper. Make a trial on the china with this paper by 
 using a few strokes to see if the impression be of a 
 light yet distinct gray. Should the paper impress a 
 black line or otherwise soil the china, wipe off some 
 of the superfluous lead with a cloth. Try again and 
 if it works well you have an impression paper for fur- 
 ther use. The tracing is glued on the china with muci- 
 lage in one or two places to prevent its moving. The 
 transfer paper is laid underneath the tracing, and the 
 lines of the latter are carefully followed, with hard sharp 
 pointed lead or slate pencil. It is advisable to outline 
 the drawing on the china with the blood-red of the china 
 paints. When the subject is laid in, these lines will 
 not entirely wash out; enough will retain to assist in 
 the painting. 
 
 In laying-in, these lines can be softened and taken 
 in; or, if this was neglected, they can be scratched out 
 after the painting has dried. To outline with water 
 colors or India ink cannot be approved. It ought to 
 be done very accurately in pale uniform lines, as these 
 lines, being fixed and immovable, are very annoying in 
 the subsequent painting, and deceiving if they do not 
 correctly mark the drawing. Some china painters de- 
 lineate in some discretional china color and fire this in ; 
 however, this is a risky thing for an amateur to do. 
 
 The color should be laid in with as large a brush 
 as possible. The amateur should from the start correct 
 the bad habit of using small brushes. Look upon your 
 
— 29 — 
 
 DRAWING. — Continued. 
 
 subject as a mass of light and shade, ignoring all detail. 
 Load the brush well, and lay the color on boldly. Begin 
 by giving the subject a local tint; then put in half- 
 tones and shadows, reflected lights, etc. over the local 
 tint. We may also begin same as with oil paints, by 
 blocking in heavily shadow, half-tone and the light 
 (a thin tint for light). Paint flat and in masses. 
 
 X Rays colors will remain open and retain their 
 blending power. The artist can paint with perfect ease, 
 as there is no reason to hurry on account of the paints 
 drying. 
 
 If the local tint be desired light, use less color and 
 enough oil to spread the small quantity evenly over the 
 desired space. The heavier the color is applied, the 
 less oil must be used, too much oil will make the color 
 run, and thus liable to collect dust and work disagree- 
 ably. If you are using color sparingly with more oil, 
 make a few strokes in a clean place on the palette 
 with your brush, which will in this manner deposit 
 unnecessary oil and regulate it. 
 
 After the color has been laid on crudely in blocks, 
 take your largest brush, first having cleaned it in tur- 
 pentine and made it pliable with medium, and blend 
 all together, going gently over the whole painting from 
 right to left, and from the light to the shadows. 
 
 In blending care must be taken to have the blend- 
 ing brush in perfect condition. It is a common fault 
 of amateurs, that after cleaning the brush in turpentine 
 they dip only the point of the brush in the medium. 
 
— 30 — 
 
 DRAWING. — Continued. 
 
 The turpentine still adhering to the top of the brush 
 makes it unfit for the purpose. Steep the brush well 
 into the oil, and then wipe it gently with the paint- 
 rag. The brush so treated will be damp and pliable, 
 and yielding to the hand, and give perfect satisfaction. 
 
 Where larger spaces are to be blended, a stippling 
 brush lends good assistance. The use of the pad is 
 objectionable, except for decorative tints, etc. 
 
 A pad used on a figure will absolutely destroy all 
 forms. 
 
 Every object in nature consists of light, half-tone 
 and shadow. If the light be warm, the shadows are 
 warm, and the half-tone between light and shadow is 
 cold. Light and shadows cold, the half-tone will be 
 warm. In nature two warm tones are interposed by a 
 cold half-tone, and vice versa. 
 
 Rotundity is expressed by a reflected light that 
 extends on the uttermost edge of the part of the sub- 
 ject that is in the shadow. 
 
 Bits of bright light from one object are sometimes 
 reflected on another. Painting these apparently stray 
 colors, make a painting extremely bright and interest- 
 ing. Putting a pink touch apparently unqualified on 
 a white-rose, illustrates the point. 
 
 and 
 
 Reflected flight. 
 
Transmitted light is light shining through trans- 
 parent objects, such as grapes. It is of a very bright 
 and brilliant hue. 
 
 The background may be painted first, the figure 
 next, beginning with the hair, or the background may 
 be put in after the figure has had one fire. Generally, 
 if the background is painted first, this is dried before 
 the figure is begun. This is not essential. With these 
 colors an artist will be able to work the whole picture 
 together. In this way the hair and drapery can be 
 beautifully blended into the background, and no hard 
 lines result. If the background is heavy and to be 
 dried, and the figure laid in afterwards, hard lines are 
 sometimes unavoidable. For the subsequent firing, hair, 
 drapery and background should be painted together, and 
 the hard outlines will gradually disappear. 
 
 FIRST FIRE. — The local tint of flesh is mixed from canary- 
 yellow, blood-red and a little carmine-purple, Take with 
 the brush some canary-yellow and place on the palette 
 (mix tints with the brush and not with the palette- 
 knife), and mix some blood-red with it to make the 
 desired flesh tint, then add a little carmine-purple. 
 Thin this with X Kays medium. Give the whole flesh 
 an even wash of this tint. Care must be taken as to 
 
PAINTING FLESH.— Continued. 
 
 the amount of oil used. Much depends upon this. The 
 color must flow freely and evenly from the brush, the 
 tint laid on must be damp, to admit any amount of 
 blending, yet it must not be wet and run, and collect 
 dust. The warm half-tone is laid in next. It is mixed 
 from blood-red and a little carmine-purple. The warm 
 half-tone is used to indicate the red around the cheek- 
 bones, eyes, lips, nostrils and about the chin. The re- 
 flected light is put in next, and extends on the edge 
 of that part of the subject which is in the shadow. 
 There is also reflection under the chin, nostrils and 
 eyebrows. The cool half-tint unites the warm local tint 
 or light with the warm deep shadows. The cool half- 
 tone is to be composed of carmine-purple and turquoise- 
 green (equal parts) and some ochre added. The roots 
 of the hair on the forehead can be indicated by the 
 warm or cold half-tone. The deep shadows are the 
 same as the cold half-tone, with more ochre and some 
 blood-red, and a little black added. After the local tint, 
 half-tones and deep shadows, etc. are laid in boldly, the 
 whole is blended with your broadest brush. Pass the 
 brush gently over the whole, blend from light to sha- 
 dow and from left to right. After the subject is blended 
 any amount of work can still be put in, as it will re- 
 main open for several hours and admit the blending in 
 of different colors, and forms may be modeled out very 
 far. The high lights should be washed out with a clean 
 brush (made pliable with oil). After blending, and be- 
 fore the subject has dried, the eyes and eyebrows should 
 be put in, and the drawing in general, eye-lids, nostrils, 
 etc., be strengthened. After drying, the high light on 
 the nose and in the eye can be scratched out. Where 
 
33 — 
 
 PAINTING FLESH.— Continued. 
 
 the high light is required broad and soft, as on the fore- 
 head and cheek-bone, this is better done with the brush 
 before drying. After the hair and drapery have been 
 laid in likewise, the subject should be slightly dried 
 over heat. The hair can be painted first, and while still 
 moist the flesh tints of the face be blended in. 
 
 The drawing is perfected by working over the dried 
 color. With an understanding of the technique of water 
 colors, the artist can work indefinitely on a picture after 
 it has been dried. Broad washes can be laid on, but 
 if the person be inexperienced, he had better have it 
 fired first. Different complexions require their domi- 
 nating color to be used more freely. The shadows and 
 half-tones of children are more delicate gray. Cupids 
 are very rosy and require more blood-red and carmine- 
 purple. 
 
 Before firing look your subject over well that the 
 lights are well defined, and that there are no mistakes 
 in the drawing. 
 
 SECOND FIRE. — The work for the second fire is to apply 
 color that will give brilliancy and depth to the shadow, 
 and relief to the lights. Background and drapery may 
 be made first, and Ave can see better what strength of 
 color the flesh parts need. Suit your proportion of dif- 
 ferent colors to the tints already fired in; as in the flesh 
 color: Should this be inclining to yellow in the first 
 
 fire, use prevalently blood-red and carmine-purple for the 
 second fire. Above all, see that your colors acquire 
 power. Maintain a strong distinction between light and 
 shade, and keep in mind that a warm tone is relieved 
 by a cold one. 
 
— 34 — 
 
 PAINTING FLESH.— Continued. 
 
 THIRD FIRE. — Our picture after the second fire should be 
 strong enough in color and require only finishing touches. 
 Certain tones are refined, and mellow and atmospheric 
 effects obtained, by a thin wash of color. The drawing 
 is accentuated with finishing brown. Finishing touches 
 should not be attempted before our figure has body and 
 detaches itself from the background; that is, it must 
 have strength in light and shade, and stand out pre- 
 eminently. If the amateur is not sufficiently skilled in 
 the free application of color, to succeed in obtaining 
 powerful coloring in two fires, the work of the second 
 fire should be repeated until this is gained, and the work 
 as given here for the third time, that is finishing touches, 
 must be reserved for the last fire. 
 
 Pairing 0~i ina.^ — 
 
 Judging from common experience there are but few 
 amateur kilns that come up to expectation. We will 
 herewith try to give a few hints to improve a kiln. 
 
 Muffles made of iron are not commendable as 
 they are injurious upon the flux of the colors. Gases 
 originate in the pores of the iron when it becomes hot 
 and precipitate upon the mineral paints. To prevent 
 the iron directly affecting the china, Ave give the inside 
 of the muffle a coating of brick. Tavo tablespoonfuls 
 of borax are dissolved in enough Avater to thin tAVO 
 pounds of common yellow clay to the consistence of 
 thick cream. This paste is spread with a brush about 
 the inside of the muffle. Before firing any china this 
 coating is dried and given red heat. We then have 
 a muffle lined with brick. 
 
— 35 — 
 
 FIRING CHINA.— Continued. 
 
 All kilns should be provided on the outside with an 
 evaporating funnel. A short funnel can easily he made 
 longer of sheet iron by any tinner. 
 
 Charcoal, gas, oil or other combustible used to fire, 
 will develop gases that penetrate the smallest cracks, 
 and in this way injure the colors. 
 
 We should therefore see that all cracks are well 
 closed, and use for this purpose the before mentioned 
 paste. We have heard of such nonsense as white-wash- 
 ing the inside of a kiln. It is truly surprising how any 
 one could be advised so foolishly. Salt or the smallest 
 particle of candle mean certain death to the glaze. 
 
 In speaking of amateur kilns it is important to ob- 
 serve, that pieces decorated with bright gold or lustre 
 are not to be fired together with careful work that want 
 several fires. Very fine pieces of work in figures, por- 
 traits or flowers should be well dried before firing, 
 allowing every bit of oil to evaporate from the china. 
 Any combustible matter (in the latter case oil) will 
 develop gases that must he allowed to escape, as other- 
 wise in the closed kiln will precipitate on the china 
 and destroy the glaze. Colors laid on in thin washes 
 will be most injuriously affected by strange matter. 
 
 If treated properly all colors, no matter if they be 
 applied heavily or thinly, should become high glaze. 
 
 X Rays require a less degree of heat than other 
 china colors. The first fire should be strong, to insure 
 glaze and perfect blending of the, colors. If colors burn 
 out too much they have been fired too strong. All suc- 
 cessive fires should be gradually diminished. 
 
— 36 — 
 
 FIRING CHINA.— Continued. 
 
 Simply stacking a kiln and giving a certain amount 
 of heat is not firing. Firing wants to be studied. Every 
 kiln wants different handling and has its peculiarities. 
 The following incident gives evidence of the ignorance 
 current among amateurs relating to firing: A lady sent 
 
 a plate, decorated with roses painted with carmine, to be 
 fired. With it she gave impressive instruction, u to put 
 the plate in a cool place in the kiln.” (A kiln is not 
 constructed on the same principles as an ice-chest.) 
 
 Another lady had used delft-blue in powder on a 
 plate. This had become a high glaze in the first two 
 firings, but the third time had come rough from the kiln, 
 though no more color had been put on the delft-blue, 
 but only the flower decoration had been touched up. 
 She told her woes, insisting between each sentence over 
 and over again, she had used X Rays colors. 
 
 Anybody should, in this case, immediately have 
 been convinced that the fault lay entirely with careless 
 firing. Colors that fire with glaze the first time can- 
 not possibly lose this in successive fires, whether more 
 color or not was put on. 
 
 After the roses have been outlined, wash over the 
 whole a thin local tint mixed of canary yellow and 
 carmine No. 1. The half-tone is put in next with a gray 
 made of canary-yellow, carmine No. 1 and turquoise- 
 blue. The reflections are indicated with yellow. Also 
 paint the centre with touches of canary-yellow. The 
 deep shadows are given the same half-tone, but increas- 
 ing the proportion of carmine. The half-tones, reflec- 
 
— 37 — 
 
 WHITE ROSES.— Continued. 
 
 tions and shadows should be laid in place boldly with- 
 out any aim at details. The colors so blocked in are 
 then blended together with the largest brush. After 
 blending, when still moist, wash out the high lights 
 entirely on the turned over edges of each roseleaf with 
 a clean brush dampened with medium. Each single 
 feature may be shaped out more carefully now by 
 touches of deep color, or we may fire it and put in 
 details in the second firing. 
 
 In painting the leaves more accurately be careful 
 to keep the edges soft, avoid hard lines but indicate 
 what you seek in touches of clear color. 
 
 Let each of these touches be well reflected that 
 effects may be produced in a distinct and meaning 
 manner. For the second fire we glaze over with any 
 color that will throw out a color or retire it, warm it or 
 cool it as we deem fit. 
 
 Crisp lights may be scratched out with a knife 
 after the subject has been dried a little over heat. 
 
 The green leaves of a white rose are a pale grayish- 
 green. Take for the local tint turquoise-blue, canary- 
 yellow and carmine No. 1, and shade with turquoise- 
 green and black No. 1. The lights can be left out 
 and washed over thinly with pure turquoise-blue for 
 the second fire. 
 
 fellow | 
 
 Aoses. 
 
 Local tint, canary-yellow. For a greenish half-tone 
 take canary-yellow, turquoise-green and carmine, or if 
 preferred a warm half-tone mixed with yellow-ochre, 
 
— 38 — 
 
 YELLOW ROSES. — Continued. 
 
 carmine and blood-red. Reflections, a very pale tint 
 mixed of canary -yellow and turquoise-blue. Deep 
 shadows, carmine-purple and yellow-ochre. The crisp 
 high lights must be washed or scratched out. A yellow 
 rose has sometimes red touches upon some of the 
 leaves, these are painted with blood-red or carmine- 
 purple or both. 
 
 The green leaves of a yellow rose are yellow-green. 
 The local tint, yellow and turquoise-green, is shaded 
 with finishing brown, turquoise-green and yellow-ochre. 
 
 A good plan to paint a pink rose is to lay in half- 
 shadows and deep shadows with pure carmine No. 1, 
 graduating the tint. Leave broad lights entirely white 
 china and use the carmine a little heavier to make the 
 shadows and centre. Put in the reflections with canary- 
 yellow and a little ochre. 
 
 For the second fire, we glaze the lights with car- 
 mine No. 1, and put the gray half-tones of turquoise- 
 green, carmine-purple and a little ochre. The deep 
 shadows are marked with blood-red and carmine-purple. 
 
 If a third fire is to be given, a good effect is obtained 
 by glazing over the entire shadow-side of the rose with 
 black No. 1 and carmine No. 1. 
 
 The green leaves of a pink rose are moss-green. 
 Local tint, canary-yellow, yellow-ochre and turquoise- 
 green, shaded with turquoise-green, yellow-ochre and 
 black No. 1. The lights may be washed out, and at 
 the second painting be washed over with thin canary- 
 yellow. 
 
— 39 — 
 
 |)ark-Red Roses. ^ — 
 
 We cannot succeed in representing the intense 
 brilliant red seen in dark-red roses by loading an 
 amount of red all over the flower, but we must care- 
 fully observe all intermediate tints, allow prominent 
 high lights and very deep shadows. 
 
 To depict the variation of color we glaze in different 
 colors at the second painting. When painting with 
 purple use it rather heavy. This color must be used in 
 this case in its full strength to have power. Purple 
 must be carefully blended. To gain an even tint is im- 
 portant. 
 
 DARK=RED ROSES having bluish or purplish lights. — 
 
 Local tint is put in with purple. Half-tones are put in 
 with purple and blood-red; reflections, canary-yellow; 
 deep shadows, finishing brown and purple. High lights 
 are washed out. 
 
 For second fire, wash the lights with carmine No. 1, 
 and deepen the shadows with blood-red and purple, 
 blending into the deep shadow color some ochre will 
 imitate the velvety texture of dark-red roses. Into the 
 dark centre glaze a little black No. 1. 
 
 DARK=RED ROSES having warm red lights. — Local tint, 
 carmine-purple; half-shadows, blood-red; reflection, tur- 
 quoise-blue or green. Deep shadows, finishing brown 
 and carmine-purple. Take out the lights. 
 
 Second painting, wash over the whole with blood- 
 red and strengthen the drawing with blood-red and 
 black No. 1. Green leaves of purple roses are purplish 
 green. Local tint, turquoise-green, canary -yellow and 
 carmine-purple, shaded with turquoise-green, carmine- 
 purple and finishing brown. 
 
40 — 
 
 For light violets use turquoise-blue and carmine, in- 
 creasing the quantity of one or the other for bluish or 
 pinkish violets. Shade with turquoise-blue, purple and 
 a little ochre. 
 
 Turquoise-blue and carmine-purple, shaded with 
 finishing brown, turquoise-blue and purple. Violets 
 away back and indistinct give relief to those that are 
 bright and near, and are indicated with a gray tone. 
 
 Carmine-purple is a mixture of carmine and purple. 
 Carmine being for certain purposes too light in color, 
 and purple too deep. The artist is able to mix this tint 
 himself. However, it is more convenient and perhaps 
 safer to have this tint ready and reliable on the palette. 
 
 A little carmine-purple added to blood-red gives 
 the red half-tones seen in flesh. Carmine-purple and 
 yellow-ochre washed over green will change green into 
 warm gray. With carmine-purple and green atmos- 
 pheric effects are attained. 
 
 Carmine-purple with turquoise-blue added is a val- 
 uable tone much used for violets. 
 
* * raperies. * * 
 
 * ^ ^ 
 
 Red 
 
 Local tint warm, very thin wash of canary-yellow 
 and carmine-purple. Half-tone delicate cold gray mixed 
 from carmine-purple, turquoise-green and a little ochre. 
 Shadows warm, same as half-tone with black No. 1 
 and more ochre added. Reflections warm and delicate, 
 canary-yellow, yellow-ochre and carmine-purple. 
 
 Local tint warm, a thinner or heavier wash of 
 canary -yellow, according to the delicacy or brilliancy re- 
 quired. Half-tone cold, turquoise-blue and black No. 1. 
 Shadow warm, blood-red, carmine-purple and ochre. 
 Reflection, cold delicate gray, turquoise-green and car- 
 mine-purple. 
 
 Local tint warm, blood-red and carmine-purple, 
 equal parts. Half-tone cold, turquois.e-green and carmine- 
 purple. Shadows warm, blood-red, purple and black 
 No. 1. Reflection, yellow-ochre. 
 
— 42 — 
 
 Blacl^ Drapery. * * * 
 
 Local tint cold, black No. 1 and turquoise-blue. 
 Half-shadow warm, carmine-purple, yellow-ochre and 
 black No. 1. Shadow cold, black No. 1, turquoise- 
 green and purple. Reflection, yellow-ochre. 
 
 Light cold, blue. Half-tone warm, orange. Sha- 
 dow cold, turquoise-blue, black No. 1 and a little purple. 
 Reflection, carmine-purple and turquoise-green. 
 
 Gtreer) §)ra pery. * * * 
 
 Light, turquoise-green. Half-tone, blood-red, car- 
 mine-purple and turquoise-green. Shadow, turquoise- 
 green and black No. 1. Reflection, canary-yellow and 
 a little carmine No. 1. 
 
 Pinly [grapery. * * * 
 
 Light, carmine No. 1. Half-shadows, turquoise- 
 green and carmine-purple. Shadows, carmine-purple, 
 yellow-ochre and blood-red. Reflection, canary-yellow. 
 
 Purple Drapery. * * * 
 
 Light, carmine-purple. Half-shadows, turquoise- 
 blue. Shadows, purple, blood-red and finishing brown. 
 Reflection, canary-yellow. 
 
air. * * * 
 
 Cold local tint, canary-yellow, a little carmine- 
 purple and turquoise-green. Half-shadow, warm yellow- 
 ochre and a little carmine-purple. Shadows cold, car- 
 mine-purple, turquoise-green and yellow-ochre. 
 
 Local tint warm, yellow-ochre and blood-red. Half- 
 tints cold, turquoise-blue, carmine-purple and yellow- 
 ochre. Shadows warm, carmine-purple, yellow-ochre, 
 blood-red and black No. 1. 
 
 Local tint warm, yellow-ochre broken with a little 
 carmine-purple. Half-tint cold, turquoise-blue, black 
 No. 1 and a little carmine-purple. Shadows warm, 
 yellow-ochre, blood-red and black No. 1. 
 
 Local tint warm, canary-yellow and carmine-purple. 
 Half-shadow cold, turquoise-blue and black No. 1. — 
 Shadows warm, turquoise-green, carmine-purple, yellow- 
 ochre and black No. 1. Broad high lights must be 
 washed out. 
 
 air. * * * 
 
— 44 — 
 
 ^ * * 
 
 There are two kinds of black hair; the blue-black , 
 which is peculiar to the Latin races, and the warm 
 black, which we find among the mixed races. 
 
 The first black hair has bluish lights, warm half- 
 tone and cold shadows. The other black hair has 
 warm lights and shadows. 
 
 BLUE=BLACK HAIR. — The local tint is mixed from tur- 
 quoise-blue and a little black No. 1. The half-shadows, 
 black No. 1, purple and yellow-ochre. The deep shad- 
 ows, black No. 1, turquoise-green and purple. 
 
 BLACK HAIR. — The local tint is mixed from carmine- 
 purple and turquoise-green, warmed with yellow-ochre. 
 Cold half-shadows, black No. 1, one-half as much purple 
 and ochre. Warm shadows, black No. 1 and blood-red. 
 
 In painting any color of hair apply the paint gen- 
 erously. Paint in masses of light and shade, same as 
 anything else. After blending, wash out some of the 
 high lights to mark the forms of the hair. The de- 
 tailed forms of hair are put in for the last firing, with 
 finishing brown for every color of hair except black. 
 For this latter use black No. 1 and finishing brown. 
 
Painting Y enocKromes. 
 
 MONOCHROMES are always pleasing. The work is simple and 
 gratifying. Monochromes in delft-blue, sepia and red- 
 brown are in great favor. 
 
 Delft-blue and red-brown are two colors not in- 
 cluded with the palette of ten colors for ordinary work . 
 Sepia is a mixture of yellow-ochre, canary-yellow, tur- 
 quoise-blue, turquoise-green, carmine-purple and enough 
 black No. 1 added to darken it to suit individual taste. 
 
 Sepia of X Rays colors can also be bought ready 
 mixed. 
 
 The color in a Monochrome is laid in the same 
 as painting flesh, but that the work is all done with 
 one color. 
 
 The local tint, half-tone and shadow are repre- 
 sented by graduation of one color. Small finishing 
 touches are put in after having dried the subject a 
 little over heat. To paint on dried color, we take oil 
 into the brush and very little paint, then on a clean 
 place on the palette we make a few strokes and turns 
 with the brush. 
 
 This will expel the superfluous oil from the brush, 
 and enough color and oil remain to give a soft mark 
 that will unite with the dried color on the china, but 
 not run over it or disturb the undertone. 
 
— 46 — 
 
 X Rays Grounding Oil. 
 
 X RAYS GROUNDING OIL possesses the quality to retain moist 
 longer than any other grounding oil as yet on the 
 market. The oil is thinned with a little turpentine, 
 and then applied on the china and padded quite evenly. 
 If we mix a little X Rays color into the grounding oil 
 we can better distinguish to produce an even surface. 
 The oiled china must be allowed to stand about one- 
 half hour before the powder color is dusted on. We 
 may graduate the tints by the length of time we allow 
 the grounding oil to stand on the china. Therefore 
 we obtain carmine by applying after one-half hour, 
 then in graduations, after ten hours we attain a very 
 delicate rose color. (Any of the X Rays colors can be 
 had in powders also.) 
 
 Scrolls or other decoration can be drawn on the 
 dusted surface with a pointed brush handle. This de- 
 mands some skill, as a slip of the instrument or any 
 other accident can never he rectified, and the dusting 
 work must he done all over. 
 
 The following plan is new and will give perfect 
 satisfaction in securing an even and sharp edge deco- 
 ration in a dusted surface. 
 
 Some prepared chalk is mixed with water and a 
 little mucilage to the consistency of ready mixed paste. 
 The conventional design is drawn upon the china and 
 is covered with the chalk in the manner that paste 
 or enamel work is done. The grounding oil is spread 
 over the whole subject, and padded and dusted with the 
 powder as is described above. After firing, the chalk 
 will peel off and leave the design in white china. 
 
 A marble effect can be produced by dusting dif- 
 ferent colors on the surface. Carmine, turquoise-blue, 
 turquoise-green and canary-yellow give a pretty com- 
 bination for a marble effect. 
 
— 47 — 
 
 X Rays (Xledium. 
 
 X RAYS MEDIUM is the only oil necessary for painting and 
 tinting. X Rays Medium will best speak for itself 
 when used. Nobody will dispute the fact that it is 
 unequaled by any oil used in painting and tinting with 
 mineral colors. It has a fine flexible quality. 
 
 The common complaint is the tackiness and gen- 
 eral unpliant nature of the oils used with mineral paints. 
 
 X Rays Medium will retain its blending properties 
 any length of time after application. It adheres to the 
 china, to admit blending without rubbing up. 
 
 In tinting use so much oil as to allow even spread- 
 ing of the tint. The tint must appear damp but not 
 wet. If it be wet, it will collect dust. 
 
 Paste and Relief tJUhite. 
 
 X Rays Paste and Relief White work on the same principle 
 as the colors, they flow easily and readily from the 
 brush. They are ready for use as they come from the 
 jars. If they become a little too stiff, add medium, the 
 same as you would with the colors. Relief White is 
 made for soft and hard glaze, and hence cannot chip 
 off. If extra high relief is wanted, put paste on first 
 and dry this and cover with Relief White. This will 
 be found to be especially durable. 
 
 Relief White may be given any tint by adding 
 color to it. 
 
* * i recti ens * * 
 
 FOR MIXING 1 
 
 to produce certain ^ell-Kno^n tints. 
 
 X RHYS COLORS,/ 
 
 The following directions for mixing to produce 
 certain tints are given to assist the amateur to be- 
 come familiar with the colors. For the accommodation 
 of decorators these tints are sold ready mixed. Any 
 especial color that the flower-painter finds suitable for 
 bright touches or effects, is made to order on application 
 at J. Schumacher’s Studio, 1820-24 Chouteau Avenue, 
 St. Louis, Mo. 
 
 Bright-red and gold-yellow are recommendable for 
 painting flowers. Bright-red is serviceable for depicting 
 popi-es. Used pure and in full strength it is of extreme 
 brilliancy. 
 
 Gold-yellow takes about the same place that cad- 
 mium does in oil paints. 
 
 CHROME-GREEN .—Turquoise -blue and turquoise-green. 
 DARK-GREEN. — 1 rurquoise-green, black No. 1 and a little purple. 
 
 SHADING-GREEN. — 1 rurquoise-green, black No. 1, purple and yel- 
 low-ochre. 
 
 APPLE-GREEN.— C anary-yellow and turquoise-green. 
 GRASS-GREEN. — Turquoise-green, yellow-ochre and a little canary- 
 yellow. 
 
 SEA-GREEN. — Turquoise-blue, canary-yellow and carmine No 1. 
 OLIVE-GREEN.— T urquoise-green and yellow-ochre. 
 
— 49 — 
 
 MOSS-GREEN.— 1 [Tirquoise-green, canary-yellow, turquoise-blue 
 and a little blood-red. 
 
 EGG-YELLOW.— Canary-yellow, yellow-ochre and a little carmine- 
 purple. 
 
 ORANGE-YELLOW.— C Canary-yellow, yellow-ochre and a little 
 blood-red. 
 
 YELLOW-BROWN. — Yellow-ochre, blood-red and finishing brown. 
 
 CARNATION-RED.— Blood-red. 
 
 SALMON. — Blood-red, canary-yellow and carmine No. 1. 
 
 MAROON. — Purple and blood-red. 
 
 GRAY FOR FLESH.— C armine-purple, turquoise-green and yellow- 
 ochre. 
 
 GRAY FOR FLOWERS.— Turquoise -blue, black No. 1, carmine 
 No. 1 and canary-yellow. 
 
 WARM-GRAY.— Turquoise-blue, yellow-ochre and carmine No. 1. 
 
 COFFEE COLOR. — Yellow-ochre, blood-red, canary-yellow and car- 
 mine No. 1. 
 
 CHOCOLATE. — Yellow-ochre, carmine-purple, turquoise-blue, a 
 little blood- red and some black No. 1 . 
 
 CHESTNUT-BROWN. — Yellow-ochre, blood-red and carmine-purple. 
 
 VANDYKE-BROWN. — Yellow-ochre, blood-red, carmine-purple and 
 black No. 1. 
 
 LIGHT-PINK VIOLET.— Tu rquoise-blue and carmine No. 1. 
 
 LIGHT-BLUE VIOLET. — Turquoise-blue, carmine No. 1 and finish- 
 ing brown. 
 
 DARK-WARM VIOLET. — Turquoise-blue, carmine-purple and blood- 
 red (or ochre). 
 
 DARK-BLUE VIOLET.— T l urquoise-blue, purple and finishing brown. 
 
 DARK-RICH-PURPLE VIOLET. — Purple, blood-red, finishing brown 
 and a little turquoise-blue. 
 
to Directors of Art Schools 
 
 The painter upon canvas or in water colors must 
 as a rule display not only exceptional talent, but also 
 be blessed with uncommon luck, in order that the 
 sale of his productions provide him a means of living. 
 Painting upon china, by using X Rays colors, enables 
 the artist or student of art to produce work, which, 
 while it adds to his development and reputation, at the 
 same time has an immediate and universal market. 
 Briefly, one may say that china-painting is the bread 
 and butter sister of the muses. In all academies where 
 instruction in art is given, it would seem to be highly 
 desirable, if, in addition to developing the technical 
 knowledge and skill in art, the results of the students’ 
 work would provide them with a livelihood. 
 
 Most of our teachers of china painting have received 
 their art education only at European china factories. 
 They have become very familiar with china colors and 
 by long years of practice have acquired a knack of pro- 
 ducing brilliant coloring and effects. This is deceiving 
 and leads us to overlook the essentials that mark the 
 work of the artist. These persons should be called 
 china decorators. They are ill qualified for teaching. 
 They lack art education and cannot give their pupils 
 an understanding of the principles of art which would 
 rapidly make them independent and original. 
 
 X Rays colors will permit artists to take up china 
 painting and impress their work with their individuality. 
 There would no longer he the tiresome similarity of all 
 paintings on china. By looking at a piece of painted 
 china we might, by its manner of painting, readily 
 recognize the well known artist, the same as we do 
 in oil painting. 
 
 and Students of Art. . . 
 
^■able of (^ntents. 
 
 
 X RAYS COLORS 
 
 Mineral colors 
 
 Mineral paints 
 
 Painting purple drapery 
 
 THE OUTFIT 
 
 The palette 
 
 Preparing the colors ready for use 
 
 The brushes 
 
 TABLE OF COLORS AND THEIR DESCRIPTION 
 
 Canary-yellow 
 
 Yellow-ochre 
 
 Blood-red 
 
 Finishing brown 
 
 Black No. 1 . 
 
 Carmine No. 1 
 
 Carmine-purple 
 
 Purple 
 
 Turquoise-blue 
 
 Turquoise-green 
 
 DRAWING 
 
 Impression paper 
 
 Application of color 
 
 Blending 
 
 Light, half-tones and shadows 
 
 Reflected light 
 
 Effects 
 
 Transmitted light 
 
 HOW TO PAINT FIGURES 
 
 PAINTING FLESH 
 
 Page 
 
 7 
 
 7 
 
 . 8 
 . 12 
 . 14 
 . 16 
 . 17 
 . 18 
 19 
 , 21 
 22 
 
 23 
 
 23 
 
 24 
 
 25 
 40 
 25 
 25 
 
 26 
 
 27 
 
 27 
 
 28 
 
 29 
 
 30 
 
 30 
 3 ( ) 
 
 31 
 31 
 31 
 
TABLE OF CONTENTS.— Continued. 
 
 Page 
 
 FIRING CHINA 34 
 
 PAINTING ROSES 36 
 
 White 36 
 
 Yellow 37 
 
 Pink 38 
 
 Dark-red 39 
 
 PAINTING VIOLETS 40 
 
 PAINTING DRAPERIES 41 
 
 White 41 
 
 Yellow 41 
 
 Red 41 
 
 Black 42 
 
 Bine 42 
 
 Green 42 
 
 Pink 42 
 
 Purple 42 
 
 PAINTING HAIR 43 
 
 Light blond 43 
 
 Red blond 43 
 
 Brown blond 43 
 
 White 43 
 
 Black 44 
 
 PAINTING MONOCHROMES 45 
 
 X RAYS GROUNDING OIL 46 
 
 X RAYS MEDIUM ■ 47 
 
 PASTE AND RELIEF WHITE 47 
 
 DIRECTIONS FOR MIXING X RAYS COLORS 48 
 
 A PRACTICAL HINT 50 
 
Johannes Schumacher, 
 
 * Q^ tudie: @ * 
 
 1820-24 Chouteau Avenue, 
 
 St. Louis, Mo. 
 
 -5SSa(5)€i€^ 
 
 FACTORY OF MINERAL COLORS: 1822 Chouteau Avenue. 
 
F\ Weber & Go., 
 
 MANUFACTURERS AND IMPORTERS OF 
 
 - - - SOLE AGENTS FOR - - - 
 
 Schumacher's X RAYS CHINA COLORS, 
 
 IMPORTERS OF AND DEALERS IN 
 
 White Ghir\a for Decorating. 
 
 
 Main House and Factory: Philadelphia, Pa. 
 
 ©^BRANCH HOUSES:^® 
 
 709 LOCUST STREET, 5 N. CHARLES STREET, 
 
 ST. LOUIS, MO. BALTIMORE, MD. 
 


 NOTES, 
 
 
 
 
 
 
 
 JW1W ' 
 

 
 
 
 
NOTES. 
 

 
 
 
 
 
 

 
 
 
 
 
 
GETTY CENTER LIBRARY 
 
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