Vol. VI, No. 3 
SYRACUSE NEW YORK 
July t904 
E feel particularly proud of the 
supplement which accompanies this 
issue of Keramic Studio. It was 
produced especially to illustrate the 
article on color by Mr. Hugo Froeh- 
lich, and is an unusually good re- 
production, although no mechani- 
cal process can exactly repi'oduce a 
painting. To those who are serious 
students of design, this supplement 
will be invaluable. At the same time we realise that those 
of our readers who prefer naturalistic painting to design, 
will not be able to appreciate the worth of this study and to 
them we would saj' that we have ready and in preparation, 
more good naturalistic studies than we have issued for some 
time. As an earnest of this we announce for September 
supplement a fine study of Pansies by E. Louise Jenkins; for 
October "Dawn," an origiiral figure studj^, beautiful in color, 
by Miss Harriette Straf er and in November four dainty panels of 
little grapes by Sara ^^'ood Saft'ord. 
We remind the students of design that the next issue will 
contain the Class Room criticism on design based on the "Jack- 
in-the-Pulpit'' motif. All who wish to svibmit designs for 
criticism on this problem, must send in their work by the fifth of 
July. Those wishing to submit designs based on the Dande- 
lion for the following Class Room criticism must send them in 
bj^ the 15th of July. The Narcissus problem which follows 
must be sent in by the 15th of August. 
A recent addition to our study table is a copy of the new 
edition of the old "standby," Miss Louise McLaughlin's Manual 
of China Painting, issued by the Robert Clarke Company of 
Cincinnati, Ohio. 
We also have received from the English firm of Long- 
mans, Green & Co., a text book of ceramic calculation which 
should be of great value to potters, the only other book of 
this nature with which we are act^uainted being the Manual 
of Ceramic Calculation issued by the American Ceramic So- 
ciety for its members. 
THE first meeting of the new Advisory Board was held in 
Chicago, Saturday, May 28th. This was as "immed- 
iately after election" as possible, the election having taken 
place in New York City and the Board meeting in Chicago. 
Not j-et having recourse to the minutes, reports, stationery 
etc., some items were left for the June meeting. All efforts of 
the Board regarding the study course are to be directed along 
the lines chosen by our predecessors who have given serious 
thought and untiring labor to its fonnative period. 
An important matter of business was transacted, — the re- 
election of Miss Mary Chase Perrj^, as chairman of the com- 
mittee of education. An enthusiastic vote of thanks was 
accorded her, for previous work, proving entire satisfaction 
with her methods and manifesting a desire to continue the best 
possible course of study for members of the League. 
Let us acknowledge oin^ appreciation by taking hold with 
the undaunted American spirit that wins. 
Belle Barnett Vesev, 
President. 
Chicago, June I, 1904. 
PRINCIPLES OF DESIGN— COLOR 
Hugo Froehlich 
THE color supplement this month shows us some of the 
sources from which artists draw color inspiration. Vari- 
ous attempts at scientific solutions of good color have been 
made at different times, and while these have been material 
aids up to a certain point, yet the emotions trained by experi- 
ence will always be the first and most infallible judges of 
fine color. The quantity of color, the intensity or grayness, 
its tint or shade, its position, its shape, its technique are so 
many factors in any color arrangement that can be solved b}^ 
scientific formulas, just as any musical conrposition or any poem 
depends on structural formulas. If these formulas or methods 
can be mastered so completely that they become sub-conscious 
and allow the emotions to have full swaj^ we have possible con- 
ditions for good work. The emotional judgment and not the 
method is the criterion, because the method alone in the hands 
of the tyro, even when it is fulty comprehended, results in 
mechanical work which lacks all fire of inspiration. 
When an artist picks up a pebble and finds a color scheme 
that plaj^s color music to his eye, he never attributes that 
pleasure to a scientific formula. It may be reduced to such, 
and thus give an added satisfaction, but the emotional pleasure 
is first, and is dominant. In painting a ^xey day, for instance, 
we feel the charm of the subtle differences of the greys and their 
technique, but only on anatysis do we find that dominant 
harmony is one of the caiises which, as the term indicates, is a 
bringing of all colors into closer relation or harmony, by making 
one color dominate all. For instance if the sky is blue, the 
distance violet, and the foreground green, these may be 
brought into closer relation by mixing a warm or cool grej^ 
the dominant note of the grey day, with the sky, distance and 
foreground, thus making an enveloping color. In some early 
morning effects, a grey greenish yellow dominates, while in 
some sunsets a red may be the enveloping color. 
This method is largely followed by painters both of the 
past and present. Rembrandt's "Night Watch" seems so 
bathed in gold that the armor and black velvets seem to give 
out a subdued golden glow. Van Dyke, Velasciuez, Titian, 
Tintoretto, Veronese, and many others worked in this way. 
This same method is successfully employed hy designers as 
