. Keramic studio . PLAQUE—LAURENCE A. BIRKS PLAQUE, WASHING DAY—L. M. SOLON 14 RERAMIC STUDIO. diet generally accepted theories. It is generally understoodthat all clay decoration must be executed while the piece isdamp, and that it must be kept in exactly the same state ofdampness until the decoration is completed. With pate-sur-pate the exact reverse is the case. The vase or other objectintended to be decorated must be absolutely dry, in fact, it isactually advisable to pass it through an easy fire—say anenamel kiln—before beginning to work upon it. This will makethe piece about as hard as c
. Keramic studio . PLAQUE—LAURENCE A. BIRKS PLAQUE, WASHING DAY—L. M. SOLON 14 RERAMIC STUDIO. diet generally accepted theories. It is generally understoodthat all clay decoration must be executed while the piece isdamp, and that it must be kept in exactly the same state ofdampness until the decoration is completed. With pate-sur-pate the exact reverse is the case. The vase or other objectintended to be decorated must be absolutely dry, in fact, it isactually advisable to pass it through an easy fire—say anenamel kiln—before beginning to work upon it. This will makethe piece about as hard as chalk and will make handling ofthe object less irksome, by minimizing the risk of now it is fragile, and if it happens to be a vase with adelicate or unsubstantial foot it is better to embed it in sand,or prop it in a jar or cylinder, packed with cotton, leavingexposed the portion to be decorated. If the foot is to bedecorated, the vase can be taken out of the cylinder and turnedupside down. We will now suppose that the vase or plaque is made ofsolid dark colored clay, or
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Keywords: ., bookcentury1800, bookdecade189, booksubjectdecorationandornament
