For this water colors are easiest managed, though oils may be used.
The semi-transparent colors are principally required, but some of the
full transparent tints produce fine effects. The lakes, siennas, Prussian
blue, terra vert, sepia, black and neutral tints of the opaque colors, care-
fully handled, give fine results. From these fine shades, greens, purples,
grays and browns are produced. Draw the design upon the glass by
touching, with a pencil, giving all the outlines. Supposing your design
to be a landscape, first paint the sky, commencing at the top with a
deep grayish blue, brighten and make lighter towards the line of
the horizon. About the distant mountains, etc., give a soft, hazv look
by making a grayish purple and white, and near the distant forests a
whitish green. In the mid-distance give more coloring, and as the fore-
ground is approached, use distinct colors, and give prominent objects
clear and perfect forms. Paint each separate object at once, and avoid
giving second coats, as this produces a patchy appearance.
In painting on glass, bold strokes and broad, even washes are required.
Keep the painting in a warm situation if m cold weather, and when the
first coat is finished and dry, apply a thin coat, of mastic varnish. For
the second coat commence again at the top, making the clouds and deep-
ening the ground with the tip of the finger or a blender ; rub in the edges
upon the soft, fleecy parts to give the effect of soft piles of cloud one upon
another. Coming down to the horizon, give a warmer glow and more
color, and strengthen the colors also in the distance near the mountains,
forests, etc. Make these more distinct, as also all subjects in the mid-
distance, and upon the foreground give great attention to minute details,
working up carefully every object. Use caution not to put on too deep
colors, for once laid they are removed with difficulty — therefore use light
tints and trust to adding repeated coats Follow each coat with a thin
one of varnish, and the third will enable you, generally, to finish up all
the details and give all those fine touches which produce such charming
9
130 GLASS.
effects. Still a fourth coat may be found necessary, but must be applied
on the varnish. If oil colors are used, proceed as if painting on canvas,
using the dabber freely, and for high lights scraping carefully with the
knife point, which produces the most wonderful effects. Give parts
toward the sunlight a warm, rosy glow, and make dull those in the
shadow. Touch all with the mastic varnish. Where high lights are
required use a rag wet with turpentine to remove the color and then
varnish ; soften the edges by nipping and using the eraser and dabber.
For this purpose landscapes are perhaps the most effective, and of these,
moonlight scenes will be found most charming, using dull shades of
green and neutral tints, making those lovely cold shades of green pro-
duced with terra vert, and touching the high lights with the mastic
varnish, etc.
ENGRAVING, ETCHING AND EMBOSSING GLASS.
Page 113
Presented as published in 1886. Historical recipes may not meet modern food-safety standards. Cook from the modern interpretation, not the original instructions.
AI-modernized reading of the original text
For this water colors are easiest managed, though oils may be used. The semi-transparent colors are principally required, but some of the full transparent tints produce fine effects. The lakes, siennas, Prussian blue, terra vert, sepia, black and neutral tints of the opaque colors, carefully handled, give fine results. From these fine shades, greens, purples, grays and browns are produced. Draw the design upon the glass by touching, with a pencil, giving all the outlines. Supposing your design to be a landscape, first paint the sky, commencing at the top with a deep grayish blue, brighten and make lighter towards the line of the horizon. About the distant mountains, etc., give a soft, hazy look by making a grayish purple and white, and near the distant forests a whitish green. In the mid-distance give more coloring, and as the foreground is approached, use distinct colors, and give prominent objects clear and perfect forms. Paint each separate object at once, and avoid giving second coats, as this produces a patchy appearance.
In painting on glass, bold strokes and broad, even washes are required. Keep the painting in a warm situation if m cold weather, and when the first coat is finished and dry, apply a thin coat, of mastic varnish. For the second coat commence again at the top, making the clouds and deepening the ground with the tip of the finger or a blender ; rub in the edges upon the soft, fleecy parts to give the effect of soft piles of cloud one upon another. Coming down to the horizon, give a warmer glow and more color, and strengthen the colors also in the distance near the mountains, forests, etc. Make these more distinct, as also all subjects in the middistance, and upon the foreground give great attention to minute details, working up carefully every object. Use caution not to put on too deep colors, for once laid they are removed with difficulty — therefore use light tints and trust to adding repeated coats Follow each coat with a thin one of varnish, and the third will enable you, generally, to finish up all the details and give all those fine touches which produce such charming
130 GLASS.
effects. Still a fourth coat may be found necessary, but must be applied on the varnish. If oil colors are used, proceed as if painting on canvas, using the dabber freely, and for high lights scraping carefully with the knife point, which produces the most wonderful effects. Give parts toward the sunlight a warm, rosy glow, and make dull those in the shadow. Touch all with the mastic varnish. Where high lights are required use a rag wet with turpentine to remove the color and then varnish ; soften the edges by nipping and using the eraser and dabber. For this purpose landscapes are perhaps the most effective, and of these, moonlight scenes will be found most charming, using dull shades of green and neutral tints, making those lovely cold shades of green produced with terra vert, and touching the high lights with the mastic varnish, etc.
ENGRAVING, ETCHING AND EMBOSSING GLASS.