KERAMICf STUDIO 
177 
FRUIT BOWL— LEAH RODMAN TUBBY (Treatment page 174) 
as a surface to paint monograms, or even designs, figures, 
flowers, etc. 
To be good, effects in enamel work over transparent glass 
should be delicate and light. Heavy designs, solid bands and 
showy flowers in enamel, give a clumsy appearance to the 
glass and make it cheap looking. On the other hand, a small 
festoon of flowers, or a delicate running design or light scrolls 
in a border form, with enamel, will be pretty, especially on 
bowls, dishes, or any kind of low shaped glass. 
As I mentioned before, I find it always more satisfactory 
to apply the enamel work, plain white, fire it, and paint it over 
with glass colors (not lustres) in the second firing. 
In mixing these glass colors, I again use turpentine as a 
medium, with a trifle of Damar varnish added to the turpentine. 
This to make the medium as reliable as possible. 
I have, in experimenting, applied the colors over the well 
dried white enamel, before this latter was fired, but though the 
work was sometimes successful, I find it would be dangerous 
for students, apt to tamper too much with the white enamel 
underneath. 
Taken all together, the important points for students to 
follow in enamel work, are as follows: 
1. See that you have a dependable smooth white enamel. 
2. Use no oils. Turpentine pure is good. When you 
are well acquainted with the work, you may add a trifle of 
fresh oil of tar or Damar, but very little. Use none at present. 
. 3. Have your enamel nearly liquid. Take up enamel 
for every stroke you apply. Clean your brush continually of 
the dried out enamel and stir up fresh, but small quantities of 
enamel. Throw old enamels aside. Apply the stroke in the 
proper place and do not tamper with it. 
Medallion for Center of Fruit Bowl 
Medallion for Sides of Fruit Bowl 
4. Dry your enamel thoroughly, in a hot place, before 
firing. 
5. Fire at a trifle higher heat than lustres. You can do 
this by placing enamel pieces a* little back in the kiln. 
6. Apply white enamel, and if necessary, paint over on 
the second firing with glass colors. 
The next lesson will be on gold decoration on glass. 
DESIGNS FROM THE WILD ROSE HIP (Page 181) 
M. Janie Launt 
BORDER I — Rose-hip, Red Orange; leaves, Shading Green; 
stems, Copenhagen Grey with touch of Shading Green; 
black bands and vertical lines of Red Gold ; black outlines. 
Border and medallion — Seed pods, Silver Yellow toned 
with Orange; other white units Orange; seeds, Hair Brown; 
other black units Olive Green; vertical lines of background, 
Bronze; black outline. 
Motif III — Rose-hip, I Orange; stem, Olive Green with 
touch of Orange, with same color in sepals of the rose hip; 
leaves, Moss Green with Olive Green. 
Motif IV — Rose hip, Red Orange; leaves, Moss Green 
and Shading Green; stems, Bronze; sepals, Bronze. 
Design V — Rose hips at center, Orange Yellow, with Red 
Orange sepals; stems, Moss Green and Hair Brown; leaves, 
Apple Green; black center and spots within stem, Orange; 
dots, Orange Enamel. 
Medallion Design VI — Center rose hip, Red Orange with 
Green Blue sepals; back, rose hips, Orange Yellow with Violet 
Blue sepals; stems, Violet Red; leaves, Yellow Green. 
Border Design VII — Large leaves, Apple Green; small 
leaves, Bright Yellow Green; rose hips, Orange Yellow with 
Violet Grey sepals; horizontal lines, Violet of Gold; dots, 
Yellow enamel; black outlines; stems, Soft Grey Green, 
