68 
RERAMIC STUDIO 
A COURSE IN CHINA DECORATION 
By JETTA EHLERS 
(Courtesy of the American Woman's League) 
(continued) 
FIFTH LESSON— OVERGLAZE PAINTING 
INTRODUCTION 
THE design given with this lesson combines two different 
problems; a floret done after a new method, and the 
use of bands and lines as part of the decoration. In a former 
lesson, mention was made of the possibility of decorating 
china for one firing. There is a certain style of decoration 
which need only be painted once and may be carried through 
successfully in one firing. Things done in this way have a 
freshness and charm which is very attractive. There has 
been so much overdone china painting that one turns with 
relief to the simple, frank sort of ornamentation. This 
method has its limitations, however. One could not use 
gold, for instance, as it is not safe to use it on tableware 
unless it has two coats and consequently two firings. Enam- 
els, raised paste, etc., cannot be carried out properly 
without at least two firings. But the idea of doing things 
that need not be labored over for a second, and even third 
time, has a strong fascination for the average decorator. 
How freely and happily one can work and with what 
charming results, for work done in such a spirit reflects it 
in the completed object. 
A motif placed at regular intervals on a surface is apt 
to look too detached or "spotty," so these spots are held 
together by lines. These lines may be used in a great variety 
of ways; they may be used to break the surface into panels, 
or to form bands, or in broken bands to hold motifs together. 
The design of this lesson is an example of this. The plate 
design of the second lesson did not include lines or bands, as 
it was deemed wiser for the beginner not to attempt them. 
The student by this time, however, has had sufficient ex- 
perience to take up the subject. 
One of the strong pleas for simple, one-fire decoration is 
that such treatment seems to make a more truly "porcelain" 
thing of it. We see so much on overglaze which properly 
belongs on underglaze or pottery ware. We have learned 
that true decoration is used to enhance an already beautiful 
form or surface. One of the beauties of the white china or 
porcelain which we use is its translucent glaze. The por- 
celain surface is so delicate and beautiful, why cover this 
and lose it ? Why not further heighten its value by the use 
of a bit of soft, brilliant color or gold? Think always of 
your plate as a piece of china with a background of white 
table linen. You will not then use muddy, dark, yes even 
bilious-looking colors on your tableware. 
You will reach out, too, for things that are not elaborate. 
Everything in modern decoration tends toward extreme 
simplicity in design. As the artist-craftsmen have studied 
and progressed, they have grown away from the over- 
ornate style. There is a feeling to-day that a design which 
has restraint is more refined than one which runs riot as to 
shapes, sizes, and colors. 
Such work produces the same sort of impression that a 
noisy, boisterous, and aggressive person makes in a company. 
One turns with relief to the more reserved and dignified 
individual. For a long time china painting was not con- 
sidered seriously by artists. Recently, however, a great 
change has taken place. This is the result of a great awaken- 
ing on the part of china painters. The revelation of the 
truth of what constitutes true decoration began to spread. 
CUP AND SAUCER— M. C. McCORMICK 
(Treatment Page 82) 
