26 
KERAMIC STUDIO 
(Continued from Page 17) 
spirit in America, we needed some such "spiritual shock" to 
bring us to a fuller realization of life. And with the demands 
which are sure to come with the reconstruction of the civil- 
ized world, there will be work for all, of all kinds, for all sorts 
and conditions of men (and women), for artists and laymen (so 
called) and we will find some day that the line of separation is 
imaginary, and self imposed; for are not all real workers artists, 
and all real artists workmen, and is not all real work expression ? 
and who gives most of himself is the greatest artist, for 
True art is more than mere painting or moulding, 
Ringing or rendering beautiful chords; 
Art is expressing the truths of creation 
Either in deeds, or with tools or in words. 
True art is living the ideals we cherish, 
Making our actions keep pace with our creeds; 
Clearing the vision, and ever advancing, 
Weaving our theories into good deeds. 
Art is the silent enactment of service, 
Art gives the courage that wins in the strife. 
Art wears the lenses which proves all men Brothers, 
True art is fusing our ideals with life. 
K K 
Last month I called attention to a possible linen sub- 
stitute for use during the war (and after) and the subject is 
so closely bound up with the use of china, and the possibility 
is so attractive that I would again remind you of what 
is being done along this line. 
The best material for this is that known as "Sanitas" 
which can be purchased at any department store (in the drap- 
ery department) or of any wall paper firm." 1 The surface is 
like an eggshell, the tone creamy, and it takes oil paint, 
either freehand or stenciled, perfectly. 
The doily sets can be round, or rectangular in shape, 
the complete set including of course a large center piece and 
the doilies being large enough to accommodate all of the 
individual service dishes. The edges can be easily stitched 
close to the edge (not too close) with white or colored silks, 
and borders and units of design applied with stencil, in any 
color scheme preferred. If one wished to carry out a definite 
scheme with the china, the same designs, or adaptations of 
the designs used on the china could be used on the doilies. 
The oil paints should be mixed with a little "Japan dryer" 
to insure quick drying and also to make them more perma- 
nent for washing purposes. The design unit could also be 
washed with a coat of white shellac after drying to give it 
still more resistance to the cleansing process. People are 
taking up the idea with avidity, especially for summer use, 
at the lake or city home. 
Dresser scarfs, table runners also become practical and 
attractive, from the same standpoint of economy and any 
china decorator can supplement with work of this kind to help 
out the income, or for the benefit of the Red Cross fund, to 
which we all are trying to contribute in one way or another. 
For the benefit of those who do not understand the pro- 
cess of making and using stencils, I would say, use the regular 
stencil paper, if it can be procured, and if not prepare your 
own by oiling with boiled oil any good smooth card board of 
medium weight. The finer the design the lighter the stencil 
paper must be for delicate cutting. Use a regular stencil 
knife or a knife from a set of carving tools. Trace on the 
design with impression paper, having first made the design 
in true stencil fashion, i.e., having sufficient straps or "binders" 
to hold the design together. Decide on the number of units 
you wish to use, and place the stencil over the material, hold- 
ing it firmly with one hand while the colors are brushed in 
with the other. Unlike stenciling on fabrics, one cannot use 
pins to hold the stencil in place, but must hold it instead while 
working. For this material the short red sable brushes are 
best, not the stiff bristle brushes usually used for stenciling 
on fabrics. A little experimenting will show the charming 
possibilities and bring out the practicability of the work. 
WORK BY PUPILS OF MRS. S. EVANNAH PRICE IN THE JUNIOR HIGH SCHOOL OF SPRINGFIELD, MASS. 
THE students made sketches in ink from nature and from 
these sketches were developed the designs for block 
prints and stencils. The study of color was taken up ii con- 
nection with the sketches, color schemes for costumes and 
interiors worked out, and a color folio made with the word 
color painted. The color schemes and charts were mounted 
and filed in the folio. The rings for the bags were made of 
raffia and reed, also the rosettes, etc. 
The bags and cushions (porch pillows) were sold to buy a 
bond for the school. 
