IlERAMIC STUDIO 
A COURSE IN CHINA DECORATION 
By JETTA EHLERS 
(Courtesy of the American Woman's League) 
CONTINUED 
SECOND LESSON— OVERGLAZE PAINTING 
INTRODUCTION 
TRUE decoration is the application to an object of or- 
namentation which enhances the object's beauty of 
form and line. True ornamentation must never conflict with 
the purpose or utility of the object to which it is applied. 
A plate is made to hold food; any decoration placed upon 
it must be considered as a part of the plate. The finished 
plate must be a frame for the food and not a picture. 
"Fitness to purpose" is a good motto to keep before 
you. A design which an architect would use on a build- 
ing might be a very good design and still be highly unsuit- 
able for a plate . 
Many china painters lose sight of the fact that this 
work comes under the head of "decorative" or "applied" 
art. When a flower is painted naturally on a plate, its 
general growth being observed, the plate becomes just a 
background like a canvas, and the finished plate enters 
the picture class. The naturalistic or realistic kind of 
work is not the highest form of decorative expression. It 
may attract you at first but it rarely gives permanent satis- 
faction. 
A plate is, as we observed before, created primarily 
as a thing for use, and this point should be considered first. 
Bear in mind, in planning your work, the "structure" 
of the object you are to decorate. To be harmonious the 
decoration must conform to the structural lines. In this 
particular lesson, for instance, we have as a structural line 
the circle. 
Here are two illustrations of this principle. In illustration i , 
the decoration follows the structural line, and the lines 
of the design all flow with the circle and are harmonious. 
In illustration 2, the lines do not follow in any way the curve 
of the plate. The result is inharmonious and creates a 
feeling of irritation. Another important point is "propor- 
tion." In decorating a plate, if the decoration is to be a 
border, think of the proportion of the width of the border as 
compared with the undecorated space. In planning your 
plate border in this lesson avoid a division into four parts. 
As a rule such a division is not good in a circle. It is usually 
too nearly even to be interesting. An uneven division such 
as three, five, or seven has more variety and is, therefore, 
more artistic. A division of six or eight is a happy one 
because it makes it possible to have alternating motifs. 
The leading thought in art is to express beauty, and the 
greatest art is that which expresses beauty in the simplest 
way. Use forms of nature just so far as they will serve the 
purpose of your design. Use such forms only as will fall 
into beautiful lines and shapes. Remember, too, that the 
simplest way is the best way. It is only the amateur who 
over-decorates. 
Do not put all you know on one piece. Take some 
simple flower from field or garden. Draw it carefully, not- 
ing the turns and twists of its stems, etc. Pull the flower 
to pieces, and see what a number of beautiful little shapes 
you will find. Draw these, and then some day, use these 
shapes and see what you can make of them in forming simple 
borders. Do you not see the possibilities? 
Subject — The application of a design to china. 
Materials — 
India ink 
Tracing paper 
Graphite impression paper 
Brush for india ink 
Plate divider 
Dead pencil, rather hard, preferably No. 2. 
China to be used — Plate tinted in preceding lesson. 
There are two motifs given with this lesson, and you 
are to choose one and place it in some harmonious and pleas- 
ing way on the plate which you tinted in the first lesson. 
You may arrange it in any manner, repeating it as many 
times as you wish. Think always of the form, and how you 
may make it more beautiful and interesting. Try several 
different spacings, until you feel that you have something 
good. Keep in mind, as you work, the points spoken of in 
the introduction; the "structural line," and "proportion." 
It is an excellent plan to work out your designs first on paper. 
To divide the plate, place it face downward on the 
divider. You will find a number of circles on the latter to 
guide you in centering the plate. Find the division you 
want, then with the china pencil mark the places on the 
back of the plate. Turn the plate, and continue the lines 
on the face of it. If you have no china pencil, rub the surface 
of the china with turpentine. When this dries, you will 
find a thin film which will take ordinary lead pencil. 
If, by chance, you have no divider, a good home made 
substitute may be made with a piece of stout wrapping 
paper. Place the plate face downward on the paper. 
Make an outline with a pencil. Cut this circle out with the 
scissors, then, by folding it in halves, quarters, etc., you get 
several divisions, such as fourths, eighths, and sixteenths. 
The paper may be folded in other divisions also. 
In spacing anything, take the utmost pains to be exact. 
It is very discouraging to trace an intricate design, and find, 
when it is almost done, that it is not coming out right because 
