132 
KERAMIC STUDIO 
GLASS DECORATIONS 
D. M. Campana 
GLASS decoration is the same to-day as it was twenty years 
ago, but with the addition of several new color and lustre 
effects. There has been for a long time, both in Europe and 
America, a large quantity of glass decorated successfully, and 
it is strange that nobody ever tried to introduce this kind of 
work in the individual studios. One of the indirect results of 
the war will probably be the awakening of a permanent interest 
in this art among china decorators. 
There is, however, a great difference between china and 
glass decoration in the fact that, while china has been decorated 
in any old way, glass must be very carefully handled; in order 
to be successful, one needs extreme cleanliness and very close 
attention. In other words I do not see any future for careless 
workers in this branch of art and only attentive students will 
be financially successful. 
Some of this new decorated glass is beautiful and quite a 
revelation. The Art Institute of Chicago has given prizes for 
decorated glass. I have myself made several sets of tumblers 
with bottles to match which have attracted much attention 
not only among the general public but in art circles. 
However china decorators are generally bound to try on 
glass heavy decorations of flowers and ornaments just as they 
have been doing on china. This of course is a very bad mis- 
take, not only because this kind of decoration on glass is dif- 
ficult, but because the effect is bad and clumsy, and because 
the decoration looks entirely out of place. For my part the 
best glass, especially for table purposes, is the one shade glass, 
that is showing only one color rather of light shade. Conse- 
quently I prefer lustres of a limited number of shades to any 
other decoration. 
I will try to give a few suggestions which will help decora- 
tors in this branch of art new to them, will make it easier for 
them to make pleasing decorations, financially profitable and 
not too difficult to cam 7 out. 
But I will say first a few words about the different quali- 
ties of glass. Two kinds are to be specially considered: Lime 
Glass and Lead Glass. Glasses such as tumblers, Champagne 
glasses, in fact nearly all drinking glasses, with or without stem, 
are made of lead glass. Other pieces such as boxes, dishes, 
jars, vases, all thick glasses are made of lime glass. Manu- 
facturers call the first class Lead Blown Blass, the second Lime 
Pressed Glass. Lime glass fires at about 1000°F. and lead glass 
at about 850°F. This may vary slightly. Therefore if you 
have drinking glasses you should place them in the center of 
the muffle and the pressed glasses where the fire is hottest. 
In this way you will not risk spoiling any pieces. Later on I 
will give more explanations on the firing and placing of glass. 
I will say now though that some of the lead glass is very 
soft indeed. Some of it will not stand even 850°F. and should 
be fired at about 700°F. The main trouble for decorators 
will be to know which is the softest glass, and it is impossible 
to detect this from appearances, as all look alike. Only by 
experimenting and by purchasing from the same factory can 
you have the best results. There is a little gambling of course 
in firing, but I find that by keeping the firing rather below than 
too high, and by distributing the pieces in the kiln according 
to thickness and strength, I seldom lose any piece of glass. 
Since the beginning of the war manufacturers have started 
to produce a glass made of potash taken from coal and cinders. 
The quality of American glass is gradually improving and we 
will no doubt have before long glass comparing favorably with 
the Bohemian or Italian product. 
I have mentioned before that the most effective decora- 
tion is that with lustres. It is also the most easily carried out. 
I advise you to begin with lime glass, for instance, small bowls, 
mayonnaise glasses, butter tubs, celery dishes, creamers and 
sugars, bonbons, etc., leaving the drinking glasses for a later 
time when you have acquired more experience in firing. 
Before I begin to apply my lustres, I light a drying box, 
or a stove, or even the kiln, so as to have a good warm place 
to dry the lustres. I take the glass, clean it of dust, rub it 
well with alcohol, inside and outside and dry it perfectly by 
rubbing with a dry cloth. I put the glass over the banding 
wheel, standing on a plate or a piece of iron, or any article 
that will allow me to put the glass in the dryer without touch- 
ing the decoration. It is better to use the banding wheel and 
apply the lustre with a large brush, because with a small brush 
it is very easy to overlook covering small parts of the glass, 
and this mistake cannot be very well corrected after firing. 
Spin the wheel lightly, holding the brush on the glass, be- 
ginning at the top and coming down gradually, covering the 
whole glass. Your lustres will now look uneven but do not 
try to correct this, they will flatten when you put them in the 
dryer and will of themselves become nice and even. 
If you have to paint a glass inside and outside, you should 
paint the inside first and stretch the lustre so that no quantity 
of the- liquid will run down and settle on the bottom. Too 
much on the bottom might cause blistering or peeling off. And 
of course when painting inside of the glass you should start 
from the outer edge of the top and go all around toward the 
bottom. When you have finished the inside, begin to apply 
the lustre on the outside, starting again from the upper edge 
and coming down, covering lightly every spot. I do this 
lustre application against the light and, if possible, in front of 
a white sheet of paper, as in this way I can better detect any 
small space left uncovered and I am more certain of finishing 
the work thoroughly. 
(To be continued) 
PLATE— MARY L. BRIGHAM 
Center of Plate 
Paint petals of flowers Silver. Leaves and stems Apple Green, with flower centers and square at base of stems 
a darker shade of green. Motif suitable also for glass. 
