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KERAMIC STUDIO 
GLASS DECORATED WITH UNFIRED COLORS— F. R. WEISSKOPF 
HOW TO PAINT UNFIRED DECORATION ON GLASS 
Florence R. Weisskopf 
There are many useful and decorative objects for the 
home which may be painted in enamels, and, after drying 
thoroughly, may be used without being fired. Such articles 
as aquaria, candy jars, baskets, candlesticks, cake covers, 
etc., are particularly well adapted to this form of decoration. 
When dirty they should be carefully washed with lukewarm 
water and a mild soap and dried with a soft cloth. If 
treated in this way the paint will stay fresh and clear and 
unmarred. Extremely attractive novelties in plain pressed 
glass can be purchased very reasonably, and as the work 
of decorating them is rapid, they can be sold readily and 
profitably at any gift shop or studio. 
Materials required are a palette knife, a tile (the box of 
wells that all china painters are familiar with is just the 
thing to keep the mixed enamels in) , some turpentine, a No. 
2 or 3 sable water color brush, a small can of white enamel, 
one of black and the following artists' tube oil paints: 
Chrome Yellow (2), Chrome Rouge, Crimson and Scarlet 
Lake, Prussian and Antwerp Blue, Mauve and Ivory Black. 
These will be sufficient for the average worker, as many 
tints are obtained by mixing colors. The colors should 
be mixed on the palette, one at a time and then mixed with 
the white enamel. Lighter shades are made by mixing in 
more enamel. They should be transferred to the covered 
box as soon as mixed, as they dry out rapidly. The fol- 
lowing are good to have mixed at one time : 
2 shades of yellow, 1 orange. 
shades of pink ranging from light pink to deep rose. 
shades of lavender (a touch of blue added to mauve 
makes pleasing purples) . 
shades of blue. 
shades of green. 
The black is made by mixing the black enamel with 
black paint. 
Keep your colors bright and clear, and do not be afraid 
to use a large number of them. Each color should be by 
itself, leave a tiny margin around each one, keep well 
within the tracing and do not fuss with the edges as they 
should be free and easy looking. 
The designs can be transferred by means of carbon, 
where convenient they should be applied to the inside of 
the glass. However any lines not covered can, after the 
article is perfectly dry, be removed with a cloth slightly 
dampened in gasoline. 
GLASS DECORATED WITH UNFIRED COLORS— F. R. WEISSKOPF 
GLASS DECORATED WITH UNFIRED COLORS— F. R. WEISSKOPF 
Any simple china design can be used but be sure to 
execute it in clear, bright colors. 
Always keep the enamels tightly covered when not in 
use. A drop of turpentine on each color, when shutting- 
them up for a few hours, will help keep them moist. 
A HAARLEM WINDMILL (Color Study) 
Water color treatment by Rhoda H. Nicholls 
TT is generally difficult for me to compose a picture of this 
-*■ kind without a great deal of reflections. So beautiful and 
full is the quality of color in reflections that I am inclined to 
sacrifice the original for its double in the water. In the 
Windmill picture we have a happy combination of objects 
and reflections. 
The drawing should be made first, either with brush or 
pencil. Next the sky should be washed in beginning with 
the clouds, which we sketch in lightly as they fly by, using 
Light Red, Yellow Ochre and Black. The Cobalt of the sky 
is worked in while the clouds are still wet. The shadows on 
the Windmill should be painted next, and, while these are 
drying, wash in the red of the houses, the green doors, the 
wharf, the sails of the windmill. Tone down the principal 
lights with a little Warm Grey. 
