no 
KERAMIC STUDIO 
oration and shows another element introduced, the effect 
being of alternating* horizontal bands of color built on the 
diagonal skeleton. 
No. 4 shows the substitution of a flower form in center 
and the idea is suggested of decorating only one corner. 
If all four corners are decorated, the interest is liable to 
be transferred to the crossing, but this can also be done, 
or top and bottom corners only can be decorated, or the 
two sides as in Nos. 166 and 185. It is needless to add 
that these designs afford unlimited possibilities in the way 
of elaboration, and are as valuable in other crafts as in 
needlework. 
Here are a few unusual color schemes taken from these 
embroideries : 
No, 189 — Dark blue pathway, dark olive in small dia- 
monds, outlined in light olive, old rose cross and white dots. 
No. 174 — Tan ground, design in lighter and darker tan, 
dark blue and white. The corner design diagonally at the 
right of 174 has a color scheme of dark blue, tan, purple 
rose and dark brown. 
MONTHLY STUDY PROBLEM 
Students may send to Keramic Studio any number of de- 
signs based on this study and these designs will receive 
criticism either by letter or in the magazine. 
MONTHLY COMPETITION 
For the best sheet of solutions of the problem in black 
and white, six months subscription to Keramic Studio or 
$2 worth of color studies or K. S. publications, as preferred. 
For the best application of this problem in color to a 
ceramic form, one year subscription to Keramic Studio or 
$4 worth of color studies or K. S. publications. 
ILLUSTRATION No. 3 -CHINESE 
BUILDING POTTERY SHAPES 
Adelaide A. Robineau 
The accompanying photographs illustrate a problem in 
the building of pottery shapes that is of absorbing interest : 
the varying proportions of neck and body. The pottery 
student, especially the one who can use the potter's wheel, 
will find this exercise of the greatest value. 
Make a heavy outline drawing of some shape that you 
fancy, and throw it on the wheel. Take another ball of clay 
and try a variation of the same form. It is exceedingly 
amusing and informative to see the different effects gained 
by very slight changes in proportions. This problem can 
also be worked out on paper with interesting results. 
(Fig. 4.) 
In the two Chinese jugs shown in Fig. 1, a variation is 
made not only by lengthening the body, but also by placing 
the spout at a different angle and the handle higher in rela- 
tion to the neck. 
In the photographs of the two jars, Fig. 2 and 3, a 
change is also made in the line taken by the neck which 
turns in on one and out on the other. Personally, I do not 
care for the crease which cuts the taller jar in two. 
ILLUSTRATION No. 5. 
Courtesy of Metropolitan Museum. 
Figure 4. 
