KERAMIC STUDIO 
101 
If possible, paint the reflections all at one time. By doing 
so, they will hang together better and look more watery. 
Begin by placing the deep shadow of mill, and observe that 
it is greener than the original ; next the green door and light 
doors and windows. That will allow you to paint the whole 
of the red at one time. Draw the color horizontally with 
the lines of the water; next paint the small houses, being 
sure to loosen the lines as their reflection meets the reflection 
of the sky. Now paint the reflection of the sky, which must 
meet and even mingle with the reflections of the buildings 
so as not to be too hard on the edge. In case the washes 
are beginning to dry, a bristle brush will loosen them up a 
little. Of course it is difficult to get all this in when wet and 
attend to the drawing at the same time, but it can be done 
with practice and an endeavor to work systematically. 
In case the water should dry out lighter than intended, 
first let it dry thoroughly, then with a large sable brush pass 
a quick wash over the whole of some greenish grey color, 
that will render it darker than the buildings. 
Now it is time to return to the windmill and paint the 
body of the mill, using Light Red, Raw Sienna, Vandyke 
Brown and a little Prussian Blue. The gorgeous color of 
the red houses, lighted by the afternoon sun, is made of 
Cadmium and Vermilion, qualified by a little Black. The 
colors of the water are the same as those used for the houses 
and sky, with the addition of Hooker's Green No. 2 and 
MOTIFS FOR THE DECORATION OF GLASS WITH UNFIRED COLORS— FLORENCE R. WEISSKOPF 
