RERAMIC STUDIO 
1^ 
TEA TILE IN BLUE AND WHITE— ALICE WITTE SLOAN 
see the form of a leaf or other object it is brought into contact 
with every day. And it has been demonstrated beyond ques- 
tion that a child between the age of five and six years, has 
produced infinitely better results in copjang forms with a 
brush than with pen or pencil. In a series of easy lessons 
therefore we shall endeavor to teach you primarily to see 
form; to express that form with a brush and by its rej)etition 
and combination form it into ornament. This being a journal 
devoted primarily to the keramic art, especial attention will 
be given to pottery, but the student will quickly perceive its 
adaptability to other forms of decorative art. 
LESSON I 
The materials required are very simple. A few sheets of 
cheap drawing paper, a tube or pan of sepia water color and a 
number five camel's hair pencil. Be sure this has a good point. 
The object of the first lesson is to show the beginner how to 
make simple strokes of varying shapes with single strokes of 
the brush. That these may be of uniform size it is advisable 
to rule two parallel lines about an inch apart, at the top of the 
page, thus forming a guide for the length of the strokes, but 
this should be abandoned as soon as possible, as entire free- 
dom is essential to success. Hold the brush lightly between 
the thumb and forefinger, the stick of the brush pointing over 
the right shoulder. Be sure to use plenty of w^ater so that the 
color will flow freely from the brush. Stroke No. i is made 
by exerting fuU pressure on the brush, then draw it towards 
the shoulder and at the same time lifting it imtil it is resting 
on its point and standing perfectly perpendicular. Practically 
the brush assumes but two positions in making this stroke, 
1st, pencil between finger and thumb and pointing over 
the right shoulder, pressure exerted on the brush which rests 
on the paper at an angle of about forty five degrees; 2nd, the 
brush perfectly perpendicular, held lightly between thumb and 
finger and just resting on its point. It is advisable to master 
each stroke before attempting another, but for variation do 
one row about one inch wide and another row two inches as 
Fig. 7. Practice this and all other strokes until you are able 
to do them at the rate of one every second. Fig. 2 is executed 
in the same method as Fig. i, only the first position is the 
brush at the point and in the second it is held at fuU pressure 
on the paper and is lifted up sinmltaneously with the pressure 
being obtained. This is a little difficvdt at first but it will soon 
be overcome by a little practice. Do not be afraid. Make 
your strokes were boldly and fearless^. Brush work is noth- 
ing if it is not direct. 
Fig. 3 is very simple when Fig. 2 is mastered, but you will 
find it a ver}^ useful and important stroke. It will be seen that 
fidl pressure of the brush is exerted in the center of the stroke 
and both beginning and ending with the brush at a point. 
Fig. 4 is a combination of Figs. I and 2, and though in itself it 
is neither useful nor ornamental it will be found an excellent 
shape for practice. It is the first and second shapes done in 
one stroke. Fig. 5 and 6 are good practice to obtain unifor- 
mity of shape. Figs 7 to 12 are simply enlargements of Figs. 
I to 6. In Fig. T3 we have used the above strokes to form a 
simple border. These then are the "pot-hooks and hangers" 
of brush worlv and when you have mastered their formation and 
can do them quickly and neatly it is a very short step to 
something of greater interest. As a lesson, make six similar 
borders to Fig. 13, using oidy the strokes shown. The jardi- 
niere and pedestal is given as an example of brush work on 
potter\^ The decoration is in colored clays. 
(To be Continued.) 
The problem of making a design for a tile, at once strik- 
ing and simple, which can be easily executed, so that the cost 
of production will not be great, is one of the most difficult 
problems to be encountered. We reproduce one executed by 
Mrs. Sloan, a simple abstract arrangeinent of lines, and one by 
Miss Peacock, an extreme conventionalization of a flower form. 
These two designs are successful in every way. There is a 
bigness in these designs which make them very effective 
whether seen at a distance or near by. Most students make 
the mistake of adding too manj^ "finicky" details, which belittle 
the subject and detract from the dignity of its handling. A 
naturalistic arrangement is altogether inappropriate for a tile, 
which is to be used as one of several or many units, as in a 
tiled fire place or window box, or which is to be utilized as a 
teajjot or flower pot stand. 
TILE FOR WINDOW BOX IN BLUE OR GREEN AND WHITE- 
EMILY F. PEACOCK 
