26o 
RERAMIC STUDIO 
tiful works of art which will command good prices should 
not be attempted. It will be easy to find a suitable body. 
The main point will be to develop a glaze, which will com- 
pare with the fine glaze of the past, and this glaze once 
found, it can be decorated at a comparatively low fire 
with underglaze colors applied over the glaze, before firing. 
For a china decorator used to overglaze work, the transi- 
tion will be easy, the same rules of design and decoration 
which have been used in the old work will apply to the^jUew, 
with this difference that colors will sink into the glaze 
and have the appearance of underglaze decoration which 
it is impossible to obtain with overglaze colors applied over 
the surface of porcelain. The decoration will then be 
durable and one will have the satisfaction of making one's 
own shapes. The palette of colors developed on tin glaze 
is exceedingly varied and brilliant, and this field should 
certainly be tempting to true artists. 
We have asked Prof. Chas. F. Binns to write for Ker- 
amic Studio a series of technical articles on the making of 
tin glazed ware, and students VhoVish to try their hand at 
the making of fine majolica, will undoubtedly find these 
articles very helpful. The first article appears in this 
In our March number we have published under the 
name of Nancy Beyer a design for porridge set which was 
by Miss Fmma T. Baker, instructor at the James Millikin 
University of Decatur, 111. The design by Miss Baker 
was not signed and a confusion was made with a design 
by Miss Beyer somewhat in the same style of conventionali- 
zation. If designers would always sign their designs or put 
their name and address on back (except designs for com- 
petition which bear special marks) , such mistakes would 
be easily avoided. 
THE FRUIT BOOK 
The Fruit Book, the printing of which was somewhat 
delayed, is now ready, and is for sale at the same price as 
the Rose Book, $3. It contains eight color studies of fruit, 
seven studies in monochrome, and a number of the best 
black and white studies of fruit published in Keramic 
Studio. One of the most important contributors is Miss 
Jeanne M. Stewart, whose work has been so much appre- 
ciated by our subscribers. We have no doubt that the 
Fruit Book will be as successful as the Rose Book. 
LEAGUE NOTES 
The thirteenth Annual Meeting and Exhibition of the 
National League of Mineral Painters, will be opened at 
The Art Institute of Chicago May 3rd, 1906. The exhi- 
bition is to continue until the 27th, and to be composed 
of those pieces which pass the Art Institute jury. 
On Monday the 28th of May, all pieces conforming 
strictly to the study course for the year, will be taken to 
Burley and Go's, exhibition room, where they may be 
viewed from a comparative standpoint. Mr. Howard V. 
Shaw will criticise the work. Particular attention is called 
to the instructions and entry blanks, which will be mailed 
to all members. 
Again we take pleasure in announcing a new member, 
Mrs. Margaret Daniels, Valley City, North Dakota. 
Belle Barnett Vesey, Pres. 
March 6, 1906. 
THE CLASS ROOM— FIRING 
The balance of articles on firing will be given in the 
May Keramic Studio. We would be glad to have articles 
sent in on the firing of a charcoal kiln, also on the gasoline 
kiln and will pay for them if they can be used. 
First Prize — Anne Seymour Mundy, Coudersport, Pa. 
TO the embryo decorator firing seems the most diffi- 
cult and wonderful branch of the art; and often, 
at first, there is a mistaken idea that firing will remedy or 
at least cover up all deficiencies. Such is not the case 
however, and when a lint spotted tint, particularly so if 
dusted, comes from the kiln with its defects more glaringly 
apparent, the delusion is dispehed forever. 
No matter how beautiful, how masterful the work- 
manship, if the colors are under, or over fired, or if the 
china has lost its glaze in spots, one is apt to feel the time 
has been wasted and only vexation and disappointment 
is the result. 
But to the careful student, be he (or she) amateur or 
professional, keeping in mind a few simple rules, there is 
fascination and even keen delight in making each color ex- 
press its true value besides the satisfaction of a good work 
well finished. 
A firm hand, watchfulness, with care for each shade or 
degree of heat, and the firing becomes the breathing soul 
of art. What could be more beautiful than the privilege 
of making perfect and perpetual good designs, well executed. 
CHOOSING A KILN. 
For many reasons nothing so far equals the Revelation 
kiln with its fire clay fire-pot; and for economy, get one with 
corrugated tubes as this construction takes the heat more 
evenly and quickly and lasts longer 
It costs little if any more to fire a No. 6 (the largest 
studio size) than the No. 4, or even a smaher kiln, so it is 
economy in every way to choose a large kiln rather than 
a smaller one. 
PLACING THE KILN. 
Select a room with a brick chimney, good draft, and as 
near as possible, if not right in the studio, to save extra steps 
and precious time. Unless short in stature, be wise and 
have kiln set on platform at least fifteen inches high, to save 
stooping over in stacking. Cover this platform with asbes- 
tos paper, top and sides, tack down neatly. On top of this, 
and under the kiln set a galvanized or sheet iron pan as 
large as will fit in between the legs. This greatly lessens 
danger in case oil runs over, and is protection from sparks, 
when drafts are open and the wind blows down the chimney 
in gusts, causing the flame to splutter out from the sides of 
the burner. The same effect sometimes comes from water 
in the oil. Asbestos paper should be tacked on the walls 
by the kiln from the floor up as high as the top of the oil 
tank and the stove pipe and its joinings should be wrapped 
in asbestos paper wired on. Danger is thus reduced to a 
minimum, so do not be nervous. 
FIRST FIRING. 
Now and always see that the oil tank is filled some hours 
before it is needed so that oil may not suddenly stop and often 
turn back of itself. This is caused by air bubbles flowing 
into the tank with the oil. As these break, the vacuum 
produces suction enough to stop the flow of oil. Take the 
