Vol. XX, No. 5. 
SYRACUSE, NEW YORK 
September J9J8 
HERE is little of note being done 
in the keramic studios in Chicago. 
Many have given up expensive 
downtown studios and are work- 
ing at home, cutting down ex- 
penses to a minimum until after 
the war. Mr. Campana is spend- 
ing the summer experimenting on 
glass in his Chicago studio and is 
obtaining some beautiful effects in 
lustres. We seem almost to have reached the limit in the 
matter of experimentation and that is one reason why the 
interest is not so keen as formerly. While there were un- 
explored fields and untried methods we were keen to con- 
quer. Now the work has settled down to a basis of pro- 
ficiency in the things we know, and for a time at least there 
will be little incentive for further search and experiment. 
After one has conquered technique and methods, it resolves 
itself into a competition for quality, for fine execution and 
for originality and individuality of design. We must learn 
to look upon ourselves more as professionals with a. craft to 
perfect and uphold, and less as experimenters and faddists. 
For just as sure as tomorrow's sun will rise and set, so 
sure are we of renewed interest and demand for the 
things of the spirit after the demands of the war have 
passed. 
It is a subject of constant comment that despite the 
compelling demands of war, attention is being given as 
never before to the creation and maintenance of Museums 
of Art, to the extension of art education and to the dis- 
semination of art principles in industry. The explanation 
is that art is not merely a luxury but a necessity in human 
life, and the need for the diversion which it creates is con- 
stantly increasing. The mind must have refuge from the 
horrors which prevail in order to preserve its balance, 
and this it finds in Museums and art galleries and in the 
individual possession of beautiful things. 
Henrietta Barclay Paist, 
Assistant Editor.' 
K K 
Our design competition for an individual set, with prizes 
offered by Mrs. Blair, closes on September 1st, but the other 
design competitions, as advertised on back cover, are open 
until October 15th. 
H K 
For those who have never been in the habit of making 
decorative units from naturalistic drawings, the editor 
has made three sheets of designs, most of them suggested 
either by Mr. Pearson's painting of geese or by designs 
published in this issue of Keramic Studio or to be published 
in coming issues. A few have been suggested by some 
specimens of Britanny ware in the possession of the editor. 
The designs can be executed either on porcelain or 
on the various kinds of pottery found in the stores. Very 
attractive dishes can be made from the cheap crockery to 
be found in the five and ten-cent or department stores. They 
suggest the peasant pottery and are particularly nice for 
porch sets and "b^eak^st or ittffch dishes. The motifs can 
be applied equally well to the other forms of decoration so 
much in vogue by enlarging the designs and adapting them 
to the space to be decorated, whether painted furniture or 
unfired enamels on various small articles. 
The style of decoration of the large bowl of which both 
inside and outside are shown, is suggested by the Britanny 
ware, while the motif for the center is taken from the geese 
study. A suggested color scheme is as follows: 
On a cream colored pottery bowl or on porcelain tinted 
a greyish cream color: Inside of bowl, dark wavy edge, 
dark Violet Brown. Scallop, light Violet Brown with 
touches of darker Violet across points of scallops. Cen- 
ters of flowers and dots below points, deep Yellow. Dark 
part of flower, Dark Blue. Outer rim, dull Red. Leaves, 
Grass Green. Center, same treatment. Geese in Violet 
Brown. Outside color scheme the same except for blue 
next the edge. The color can either be painted in, in which 
case it will be affected somewhat by the undercolor of the 
pottery, or it can be dusted or flat enamels can be used, in 
which case the colors will be more brilliant. 
The design is shown with outlines but they are not 
at all necessary. The cross hatching is intended only to 
give the effect of lighter color, not to be drawn in. 
This design could also be applied to the deep yellow 
crockery or the brown crockery with white lining, but the 
lining should be first tinted. About the firing try a small 
piece first in your kiln, it should stand about the same 
firing as porcelain. 
The design for marmalade jar can be adapted to any 
small covered pot. The goose might advantageously be 
made smaller. Color scheme: Daik edges, Dark Blue, 
Dark line, Violet Blue. Lighter lines, Orange. Group of 
flowers in top border; Center flower, Orange with Red 
center, two side flowers, Yellow with Orange centers. Dots, 
Violet Brown. Leaves Green. Flowers at base, alternately 
Orange with Red center and Yellow with Orange center. 
Goose, Blue with Orange beak and feet. Ground lines, 
Violet Brown and Grass Green. 
The plate or bowl center shown on the second sheet 
has the following color scheme : Ground, a greyish cream 
line near edge, Violet Brown. Shaded band next, Grass 
Green, not too strong. Scallop in deep Orange and the 
spot medium Blue. The same border is repeated on the 
outside or the scallop and spot could be replaced by a 
band of Orange and line of Blue. The geese should be 
medium Blue with Red eyes and Orange beak and Red 
feet. Tree, dark Violet Brown with green leaves. Fence, 
light Violet Brown. Grass, Green with Orange and Red 
flowers. Do not worry if your results are rather naive and 
childish, they are more attractive so. 
The small bowl above has for color scheme : Wide wave 
line next to edge, Purple. Narrow wave line, Violet with 
Light Violet alternate small scallops. The dots are in al- 
ternate groups of blue with green either side and orange 
with blue either side. The center of bowl should have only 
the border repeated, with a center basket of flowers similar 
to one of those on the page of medallions. 
