is used for the shading, a little of the local tint should be added.
It is very difficult to obtain a really brilliant red, and consequently red flowers should be surrounded as much as possible with green. Sometimes a very good effect is obtained by painting the flowers which are to be red first with yellow, and after firing, painting with capucine red. A touch of carmine gives the pink tinge often found in the stalk of a rose. Carmine and capucine red make a pretty under tint for red flowers when the under side of the petal is exposed. A very light touch of black is often useful in shading both green and blue. Violet of iron or red brown is very effective at the edges of rose leaves. Practice and a little study of good painted china, where practicable, will soon teach other combinations.
A very important part of china painting is learning to lay on a flat tint or ground. Like many another thing it is quite easy when you have done it, but oftentimes it takes many attempts before a beginner gets a smooth tint. One might travesty Shakespeare in giving directions for this process to an amateur and say "if you have patience, prepare to use it now," and speaking from experience, I would add, "if you have no patience, don't try to lay a ground."
Some of the grounding colors are much easier to lay on than others. Pinks, and blues, for instance, are very difficult to lay on smoothly, while Chinese yellow and maize are easy to manage.
When your design has been painted and fired, mix the color you intend for the grounding. Using with oil of lavender—you can use turpentine, but the lavender is much easier to work with, as it does not dry so quickly—adding one third as much flux (this is not absolutely necessary) as you have paint. Mix your color a little thinner than for painting. Have ready a small ball of
