50 
RERAMIC STUDIO 
well, and always has the effect of bringing harsh colors into 
harmonious relation. 
Interior decorators find it difficult to bring the disagreeable 
yellow of the wood trimmings of the modern house to any terms 
with the wall paper, carpet, and furniture, unless they frankly 
stain it a color that will harmonize with the rest of the scheme, 
which is usually controlled by some dominating or kej^ color. 
Custom and conservatism have fastened on us this hideous 
yellow varnished wood trimming, and only the trained eye 
refvises to tolerate it. Weathered and fumed oak are protests 
against this garish yellow finish. 
In much of the ceramic work the poor cok)r is clue to the 
use of colors that have not been sufiiciently related. It is true, 
however ,that quantit5^ position, shape and technique have much 
to do with the success or failure of a color scheme, because if any 
one color area is too large or too small for the quantities of the 
others, the balance of the design is destroyed, even though the 
scheme may be a dominant harmony. So again, if the position 
is such as to attract undue attention, the balance of the design 
is destroyed. Or the cjuantity and position of a color area may 
be riglit, but if its shape does not harmonize with the neighbor- 
ing shapes, it will destroy the balance. Lastly, the techniciue 
may be too vigorous or too tame, it may be too brutal or too 
insipid, and thus throw out of balance the other qualifications. 
We must often tuna reverently to the past for our instruc- 
tion, and we find a most magnificent use of color in the paint- 
ings and fabrics of the Middle Ages. The simple colors then at 
the disposal of the painter seemed no hardship, and their can- 
vases are the very essence of fine color. To these treasures, 
frequent pilgrimages are made by art lovers and painters of the 
present, who make copies that they may come in direct touch 
with the method of producing fine color. This not only adds 
to their stock of knowledge, but stimulates their color sense and 
gives them the power to express some of that color in their own 
work. But these treasures are not within the reach of many, 
and it becomes necessary to go to sources nearer the worker. 
Even the textiles of the golden period of Sicily, Spain, Florence 
and Venice are rare, and nothing but bits of rags of this splendid 
time are left. At handsome prices, these have been collected 
by art lovers, so that the painter of the present can consult 
these records in museums and private collections, but may not 
hope to possess them. 
Even Japanese and Chinese prints are scarce and are 
growing more so every year. These prints are little songs of 
line, mass and color, that sing their quaintly beautiful melody 
to the eye, and influence the art standards wherever they go. 
Unfortunately, however, anything with the Chinese or Japanese 
stamp upon it is considered by the uninitiated pubhc as stan- 
dard, and this uncritical attitude has resulted in a flood of 
most decadent Chinese and Japanese wares, which is sweeping 
the country, and is to a large extent counter-balancing the good 
accomplished by the fine things done by these people. Train- 
ing to see and know, alone can correct this decadence. 
Some of the earlier Indian pottery is splendid in its color 
scheme, and is especially helpful to the art craftsman. The 
Sikyatki bowl on the supplement page has sviffered some in 
reproduction, but even in this print we see what good color 
relations are expressed, how fine the structural lines, how 
splendid the balance of the simple masses. 
Old oriental rugs, bronzes, pottery and porcelains are 
further sources for color suggestions and are within the reach 
of students. 
We find the artist's studio interesting because a trained 
mind has brought together many art objects and so arranged 
them that the atmosphere of the atelier is an expression of 
the artist's life. It is as much a creation of his mind as his 
canvases are, and it is as necessarj^ to him as the violin is to the 
violinist. 
One more source of color inspiration that lies at our ver3^ 
doors is in Nature's treasure-house. In autiunn she gives us 
infinite variety in the sedges, grasses, and leaves. At any time 
of the year, indeed, we can make color demands on her, and find 
helpful response. Lichens, mosses, pebbles, the bark of trees, 
the very color of a mud bank all give us color schemes, provided 
our eyes have been opened to this kind of beauty. Birds, 
animals and insects, as well as atmospheric conditions and 
times of day, are further aids. 
The increased appreciation of color that comes from a study 
of these various sources is inestimable, as any attempt to cop\^ 
them gives us the method and control of material. If we 
should try bj^ the use of water color to get some particular shade 
of green found in a Japanese print, we would learn by this 
effort the number of colors required, the quantity, quality and 
limitations of each color. Our color chart is a further aid in 
naming and locating this color, so that its subsequent occur- 
rence in a line design would recaU the original color. 
Fleeting impressions, such as storm, sea, atmospheric, 
tA\ilight and moonlight effects are noted by making small, 
rapid outlines of the scenes, and writing, in the various shapes 
of sky, ground and water, the name of the color in its abl^rc- 
viated terms. 
These, in a general way, are the sources from which we 
derive our color knowledge, and this once acquired, we think 
in its technical terms. This is illustrated in the maple leaf 
and its color application in the vase opposite, in the Sikyatki 
bowl and its application in the accompanying stencil, and in 
the Venetian textile and its application in the decorative 
landscape. Many artists collect these materials, making care- 
ful copies in a sketch-book for future reference. To the ceramic 
worker, especially to the over-glaze painter, this method must 
be of the greatest value. All art growth is slow, and the rank 
and file of ceramists will continue to mviltiply realistic land- 
scapes and figures, and sprigs of flowers on vases, plates, cups 
and saucers. Nor is this to be too much lamented, for while 
we must work toward a better art, the development must come 
through a gradual change, rather than by a violent revolution. 
A saucer with a sprinkling of violets that vie with nature in 
realism is more beautiful to the majority of people than the 
same saucer without any decoration. This is inevitable, be- 
cause it is but one step in the evolution of art, ju.st as the over- 
loaded realistic pyrographj^ designs are a similar step. But 
because people enjoy this kind of art we ought not to close our 
eyes to the art that has lived for centuries, and will continvie to 
live for many more. Because we enjoy the popular tunes 
whistled on the street, we must not forget that Beethoven and 
Wagner produced works that will fill the world with their 
grandeur long after the popular tune has been forgotten. 
Realistic flower representations decoratively used and popular 
tunes will always be with us; they have their legitimate places 
and are stepping stones upward to something better. Let us, 
therefore, study that something better, — the really fine thing — 
and leam to appreciate it, even if we cannot hope to attain it. 
Let us get at the causes that have made splendid art possible, 
and try to apph' these causes to our violets. The leaders in 
ceramics are doing this, and are making wonderful strides 
in bringing china painting up to the dignity of good work. 
By and by, others will join these leaders, and their art will not 
be confined to ceramics only, but to the great, real, every day 
world about us. 
This is the art that we should keep in mind; the art that 
brings beauty in touch with life at every point. 
