KERAMIC STUDIO 
61 
LAMP WITH GLASS GLOBE 
Mary Alley Ncal 
HE lamp here shown is of china, the globe 
of opal glass, both decorated with yellow 
chrysanthemums, painted from nature, di- 
rectly on the lamp. The chrysanthemums 
being a hardy flower, one can readily do this, as the flowers if 
well cared for, can be kept fresh for two or three weeks, en- 
abling the decorator to use the same flowers for the successive 
paintings. The painting for the glass globe differs a little 
from the painting of the vase, which forms the body of the 
lamp, as one must remember that it is transparent, and is 
generally seen with a brilliant light behind it, and every brush 
mark shows. Draw carefully your design, with lithographic 
crayon. The colors used are especially ground and fluxed for 
glass, but, even then, as the opal glass is a very soft body and 
takes a very light fire, to insure a high glaze you must add 
extra flux with the colors, and for this use a special soft flux. 
Grind the colors separately with a glass muller on a piece of 
ground glass, adding one-eighth flux, use fat oil only for mix- 
ing, being careful not to use too much, as the colors blister 
easily. Now paint your flowers, using the paint thin and as 
even as possible, using the brush as the petals grow, and model 
as you paint. For the lightest flowers use Light Yellow, and 
a few touches of Yellow Brown in centres, shading with a 
mixture of Dark Yellow and Brown Green ; for deeper flowers 
use Yellow Brown and Soft Red Brown, leaving plenty of 
light. On the shadow side is a deep red flower with yellow 
touches, using Silver Yellow, Soft Red Brown and Ruby; for 
the shadow ones use Yellow Brown, the mixture of Yellow 
and Brown Green and touches of pure Brown Green. For the 
leaves and stems use Yellow Green, Grass Green, Brown 
Green and Dark Green. The globe is now ready for the first 
fire, which is a light heat, as it is much softer than the crystal 
glass, and if too much heat is used it will lose its shape. Use 
only turpentine in painting, as there will be enough oil used 
in mixing the colors. 
SECOND FIRE— Put the background on first, put a smooth 
even coat of English Grounding Oil on the globe, leaving out 
the flowers as much as possible. Then pad with a soft pad of 
china silk until tacky, dust on the top Light Yellow, into Dark 
Yellow, into Yellow Brown, into Grass Green, into Soft Red 
Brown, into Dark Brown, which will give a rich shading from 
light yellov to rich dark red brown. Clean off flowers, stems 
and leaves, and accent them, using same colors as first paint- 
ing, except on flowers where Yellow Brown and Soft Red Brown 
were used. This time paint only with Dark Yellow. Be 
careful that you clean all particles of paint from the inside of 
the globe, and fire the second time. 
Third Fire— This painting is best done on a lighted 
lamp, as you can tell then how it will look when lighted. 
Without the light the background may be rich and dark, but 
with it, it may be too pale. If so, dust your background as 
before, blending the colors one into the other, then strengthen 
the flowers where needed, putting stronger touches on the 
stems and leaves, washing over some of the flowers with either 
Yellow Brown or Brown Green, to put them into the back- 
ground and give perspective. 
For the body of the lamp paint the flowers and leaves 
first. For these use Lemon and Albert Yellow, Yellow Brown, 
Yellow Red, mixture of Brown Green and Albert Yellow. For 
the deep red ones, use Blood Red and Ruby. For leaves, use 
Yellow Green, Brown Green, Shading and Royal Greens. 
While the flowers are still wet, paint in your background, 
beginning at the top with Albert Yellow, into Yellow Brown, 
into Royal Green, into Blood Red, into Finishing Brown, using 
Copaiba as a medium, and pad if it does not blend enough; 
when almost dry, take the same colors and dust on with a 
piece of cotton. It is now ready to be fired. 
SECOND FlRE — Strengthen the flowers where necessary 
and paint the same colors over background, blending with a 
pad and fire. 
TllIRD Fire — Put stronger accents on flowers, leaves and 
stems, and if the background needs bringing together, do so, 
and wash over some of the flowers with background colors to 
give perspective. When fired, you will have lamp and globe 
in the same coloring and harmony. 
FOR BEGINNERS. 
TINTING. 
[eoittilYUed iVom June NinulKi. | 
IN the June number wc gave instructions fur tinting with the 
color in powder form, to be dusted on. 
We will now show how the tint may be applied in a wet 
form, or where oil is mixed with the color before it is used for 
tinting. 
In the first place see that the china is absolutely free from 
dust. By going over it with the hand all particles of dust or 
lint will be removed, for, even when the surface of the china 
is wiped with a cloth, there will be lint remaining, and you 
will wonder "where all the dust comes from." 
Have a silk pad, or dabber ready before the work is 
begun. This is simply a wad of cotton covered with a piece of 
an old silk handkerchief. Use the ordinary cotton wadding, 
not the absorbent cotton, as that takes out all the oil before 
the color has a chance to blend. (Mr. Fry recommends sur- 
geons wool.) A fine Japanese silk handkerchief is always good 
because the silk is pure and finely woven, and does not leave 
the impression of the threads. Such a handkerchief or piece of 
silk can be used again and again, as it can be washed 
with strong soap after it has been soaked in turpentine. 
(When one has a lot of old silk pieces about the studio the 
color can be taken out by boiling in soda.) When clean and 
dry, iron out the wrinkles or creases or they will leave an im- 
pression upon the tint. It is better to double the silk over 
cotton. 
All these instructions may seem trivial, but if you start 
out with your materials and tools in proper condition, no end 
of trouble will be saved. 
If you are using tube colors, take out a sufficient amount 
upon a palette that is absolutely free from dust, add enough 
balsam copaiba to make the color drip from the knife, then 
add a drop or two of clove oil (more if the surface to be cov- 
ered is large), and thin with turpentine. 
Use oil of lavender instead of turpentine if the color has 
to be held open longer. Mix well and see that the color is 
perfectly free from any lumps. Apply with a large square 
tinting brush, and then pad the color evenly with the silk 
dabber previously made. 
Try the tint before putting it all on. If it dries in spots 
and will not blend, add more balsam copaiba and clove oil. 
If it seems very tacky, and sticks to the dabber in little spots 
and will not blend, there is probably too much balsam copaiba, 
so add another drop of clove oil and a little turpentine to 
make it flow over the china better. 
Too much clove oil will keep the color open too long, 
