Vol. VI, No. 6 
SYRACUSE NEW YORK 
October 1904 
HE Annual Fall Competition closes 
the 15th of October. If tlie results 
are such as we are encouraged to 
expect our subscribers may look for 
a line Christmas nixniber of Kkramic 
vSriiDio, si)ecially illustrated with 
a view to the manj' things which 
can be made and decorated for 
tlie Christmas pleasure of the httle 
ones, as well as "grown-ups." There 
is a particularly attractive atmosphere in the work done for 
children in these latter days, whether it is that the saying 
"The child is father to the man'' is being better understood 
and we realize that in doing artistic things for them we are 
furthering a more rapid development of the art than in catering 
to those who are already- at the zenith of tlieir ability to de\e- 
lope or wiiether it is we realize more, that in simplifying things 
to the understanding of these little ones, we are realh' touching 
the kej^ note of all that is truly artistic. 
Things that are simple, symbolic and useful are the lasting 
and truty beautiful and will give the touch of character in 
future ages to our own art status as do the ancient art expres- 
sions of Greece and Egj-pt. 
Speaking of Grecian and Egyptian art, in a randjle the 
other day, through the Metropolitan Art Museum and the 
Museum of Natural History at New York, it was curious to 
note in the work of the ancient Peruvian and other South 
American Indians as well as in many northern tribes, a marked 
resemblance between the better work of the potters of both old 
and new worlds, and where these foniis and motifs and modes 
of decoration approach most closety, one notes the fact that 
the forms are the most simple and treatment most apiJrojDriate 
to their use. The so-called Greek fret is found every where in a 
modified form, that is a concidence to which we have all become 
accustomed, but it is strange to find shapes and modes of 
attaching handles and schemes of spacing alike, as well as 
certain treatments of things used for similar uses. It only 
goes to proA'e that there is but one right way after all. 
Our stock of good naturalistic studies in black and white 
is running rather low. We would be glad if our readers would 
send to us any good studies they may have of flowers, fruit, 
nuts, seaweeds and shells, etc., etc. We will give them our 
earnest consideration and will purchase all that are suitable 
for reproduction. 
The treatment for the plate design of Marie Crilley Wilson 
and the Pansy study of E. Louise Jenkins will be found in this 
issue of Keramic Studio The delay in giving the treatments 
was unavoidable as Miss Jenkins is in Europe and Mrs. Wilson 
was also absent from home. 
The New York Society- of Ceramic Art has changed the 
time of its annual exhibition to the sjsring when most of the 
regular art exli bitions take place. We think this a good idea, 
but trust that they will also hold a sale at Christmas time for 
the sake of the patient pocketbook which is seldom plethoric 
among china decorators as in all other paths of art. 
BRUSH WORK 
W. P. Jcrvis and F. H. Rhcad 
*LESSOX 2. (COXTIXUEn) 
FIG. ro and 12 are lessons in mak-ing forms composed of 
more than one strolcc. The honeA'suckle in No. 10 is done 
by malcing the centre stroke first, then the left side and finish with 
the right side. These could be done in colors, using two colors 
for No. 10 and three for No. 12. (In numbering the examples 
No. II was accidentallv omitted.) For No. 13 a good color 
scheme would be gold, dark blue and red, making a conventional 
Crown Derby pattern. Use dark blue for the horizontal lines, 
the other shapes in red and the wavj' Unes and handle in gold. 
No. 14 would work out well with the petals in red, the bands 
and stems in green, and gold handle. For No. 15, paint the spots 
and horizontal line in orange, the leaves in sage green, flowers 
violet, with the handle, foot line and edge in gold. No. 16 
may be done in any quiet coloring, painting the handle in the 
same color. This cup would make a nice contrast if the wall 
paper were considered. If the paper was a warm amber or 
w^arm dark green, do the pattern in turquoise on white. Should 
the paper be a cold green or blue, do the cup in coral red or 
rich yellow, or in violet if the paper is orange. For further 
practice make simple designs for three shapes of cups or vases, 
with designs made of single strokes. 
LESSON 3. 
As this lesson deals with natural forms it will be well to 
abandon the sepia and substitute a warm green. Fig. i is a 
simple spray entirely formed with the first stroke. Fig. 2 
shows the fibres in a lanceolate leaf and is a combination of 
the same stroke. Fig. 3 is formed by using the second stroke. 
Figs. 4 and 5 show the method of drawing leaves with cerea- 
tions, each cereation being formed by a separate brush sti-oke, 
the one running into the other, the last under stroke in Fig. 5 
forming the centre fibre. Fig. 6, grass or any linear lanceolate 
leaf is formed with two strokes of the brush. Figs. 7 and 8 
show two dift'erent methods of treating leaves, one as a sohd 
form and the other breaking it up into fibres. No 8 looks a 
little difficult, but Ijy first drawling in — always with the brush — 
the main fibres and so practically breaking it up into small 
sections, it becomes much less complicated than it look's. 
Figs. 9 to 15 are simple floral arrangements which may be treat- 
ed in natural colors and must be drawn with the brush without 
any pencil lines. Fig. 9 for instance may be treated with the 
heads of the bulrush in dark brown, stems straw color, leaves 
dark green. In Figs. 11, 12, 13, 15 paint the flowers first,.then 
the stems and finish with the leaves, being careful to have the 
stem of a graceful shape. A number 5 brush should stdl be 
used for the finest lines. It is exceUent practice to draw fine 
lines with a large brush. Always consider the line of the stem 
when drawing leaves. 
For further practice make one or tA\o treatments in brush 
\vork of any smaU plant or weed. Some of these latter are 
extremely beautiful and decorative. From these natural 
drawings make a design for a 6 x 6 tile, as simple an arrange- 
ment as possible and all done with the brush. Use three 
colors for this. 
» Figures referred to in Lesson 2 are. sliown in September issue, 
