70 
KERAMIC STUDIO 
At first only one or two were brave enough to break away 
from old traditions, but gradually the movement grew, until, 
to-day, every ceramist of any standing is to be found in its 
ranks. 
The use of conventional design has been abused. Why 
should it not be? One does not spring directly from a 
wrong way of doing things into an absolutely correct man- 
ner of doing them. Do not condemn all conventional 
designs because you see designs which are poor and uninter- 
esting in the magazines. The average publisher is hard 
pressed in gathering good material for publication. 
Remember also that the American china decorators are 
slowly but surely working toward a high ideal, and a dis- 
tinctive school of decoration. This will not come in a day 
but is a matter of slow evolution. The American Woman's 
League holds in its hands a powerful influence in this devel- 
opment. 
If this subject of simple decoration is repeatedly 
emphasized, it is because the people back of this University 
movement want the students of this course to stand for the 
right sort of thing. A body of students so widely scattered, 
all working toward one standard, will spread an influence 
for good design and good craftsmanship which is practically 
unlimited. 
SUBJECT 
Use of lines and bands; method of executing design for 
one firing. 
MATERIALS 
Keramic gauge Impression paper 
Plate divider Lead pencil 
India ink China pencil 
India ink brush Banding Blue 
Bottle of Fry's special tinting Royal Copenhagen Grey 
oil Pearl Grey 
Small square shader 
Red sable outlining brush 
Tracing paper 
Yellow Green 
Dark Green 
Albert Yellow 
CHINA TO BE DECORATED 
Plate i\ inches with rim; rim i^ inches wide. 
Clean the plate ready for work, then carefully divide it 
into ten sections. "Fix" the divisions with a delicate line 
of India ink, using the camel's hair outlining brush for the 
purpose. Next place the lines by means of the keramic 
gauge. Space your lines, observing and marking their 
distance from the edge of the plate and from each other. 
On the gauge you will find a movable crossbar with a tiny 
screw ; unfasten this screw and then place the pencil point on 
the proper place for the line. Push the little bar up against 
the edge of the plate, fastening it in place by turning the 
little screw. Draw this around the plate and, holding it 
always at the same angle, use the gauge as directed in the 
second lesson. 
If you have no gauge, the lines may be drawn in with 
the china pencil. Hold the pencil firmly between the thumb 
and first finger. Balance the hand by holding the tip of 
the second finger against the edge of the plate. Hold the 
plate on the palm of the left hand, get the pencil point fixed 
where the line is to be drawn, and then, holding the right 
hand with the pencil always firmly in the same position, 
slowly revolve the plate with the left hand. With a little 
practise one may get perfectly straight lines. The essential 
point is to keep the pencil and balancing finger as nearly 
stationary as possible. 
When all the straight lines are placed, the little panel 
suggestions are next to be measured and drawn in by means 
of the china pencil. If you are unable to do this free-hand, 
use a piece of tracing paper. Begin now to try to be inde- 
pendent of tracing for such points, using the china pencil 
PLATE DESIGN— JETTA EHLERS 
