254 
nERAMIC STUDIO 
LEAGUE NOTES 
NATIONAL League members will be glad to learn that the 
newty organized ckib at Portland, Oregon, has applied 
for membership in the League. The wisdom of adopting a 
sj^stematic course of study at the beguaning of the club's 
career can not be overestimated. We congratulate the 
League, and wish the Oregon Keramic (O. K.) Club a long 
life of usefulness. 
Belle Barnett Vesey, 
6228 Wabash Ave., Chicago. President. 
NATIONAL LEAGUE STUDY COURSE FOR 1 904- 1 905 
1. Outline drawing for tea cup and saucer. 
2. Design for 6" x 6" tUe. 
3. Pottery Jar, with or without cover. 
4. 10" plate with rim. 
5. Bowl for overglaze decoration. 
6. Slab 9 X 12 or 7J X 9 inches. 
7. Cylinder Vase for overglaze decoration. 
It has been thought possible that some of our League 
members may not fully understand the detail of the Study 
Course, and that a further explanation may stimulate addi- 
tional working interest for the remaining three months. 
It is hoped that each member will send in something 
from each of the seven problems. If this is not possible, 
won't you send the results of whatever work you have done in 
connection with any one of the problems? 
1. The outline for the tea cup and saucer may be made 
with either pencil, charcoal, ink, or any other medium, on 
paper 9 x 12 itiches. If you can suggest anything new in the 
form, or in the handle, so much the better. Try especially 
to make the handle look as if it belonged to the cup, and was 
a necessary part of it. So many handles are merely append- 
ages fastened on with no relation to the cup part. 
2. Do try to make some good designs for tHe. The 
6" X 6" size is one which is largely used for mantel facing. 
Make either an independent design for a single trie, or one 
which will work into a continuous pattern, if placed together. 
They may be made either of water color, overglaze decoration, 
or entirely made of clay. The latter offers a splendid field 
for something new. Have the clay, making the tile part, 
thoroughly welded by kneading or pounding, so that it will 
not crack or scale. Make any decoration with incised lines; 
in low relief, or of a more positive character. You can get 
inspiration from any natural motive, — from simple lines 
problems, or from fragments of architectural bas relief. 
See if possible some of the Moravian Tiles by Mr. Mercer — 
ordinary red flower pot clay so transformed as to possess 
intrinsic beauty and interest. 
3. The Jar, is an exercise which will strengthen your 
feeling for aU kinds of decorative work. It wiU help to unify 
your ideas with regard to the form and its ornamentation. 
You cannot help keeping both in mind, as you work. The 
jar may be thrown on a wheel, cast in a mold, or simply made 
by hand. For our development, as ceramic students, the 
latter method seems the most practical help, as the personal 
touch is demonstrated from begimiing to end. Can't you tell 
whether a piece of ware is thrown, cast, or built by hand, 
simply by feeling it inside and out? You can almost enter 
into the thought and intention of its creator by following 
the surface of a hand-budt form. If you have access to the 
catalogue of the Morse collection of pottery, at the Boston 
Museum, the Japanese tea-jars will appeal to 3'our considera- 
tion. 
Do get a lump of clay and go to work 1 From the nearest 
flower pot factory, or pottery, where they make crocks and 
jars, or from your own back yard, or you can buy prepared 
clay from a Kindergarten Supply House. It is simple enough, 
if you are not afraid to try. Any factory or pottery, where 
you procure your clay, is usually willitrg to fire your finished 
work, or, if you use a low-fire clay, lil<;e ordinary modeling 
clay, you can make it sufficiently permanent in your own 
china kiln. A glaze may be used or not. The unglazed 
pieces are very attractive. Do not thinlf a glaze absolutely 
necessary to make your piece interesting, just because it is 
more lilve the finished products in the shops. Your unglazed 
piece may have greater interest and individuality just because 
it is not Hke commercial ware. If it is easy for you to make 
use of a glaze, do so, if you desire. But don't refrain from 
doing what you can, because you leap too high. 
4. The Plate problem ought to be pretty well under- 
stood. A border may be used, or the whole plate may be 
decorated. As part of a table service, do not paint a picture 
either of flowers, fruit or figures. If you wish to use a floral 
or other naturalistic motive arrange it in a decoration, making 
a repeated pattern, so that it will be subservient to the plate 
itself, 3^et an added part of it. You may use anything above 
the heavens, or under the sea, as a suggestion. Mere straight 
lines, well arranged, make a combination of interest. Think 
how the Greek borders have outlived all generations. 
5. The Bowl question gave some difficulty, because two 
slightly different shapes were made by the Ceramic Art Co., 
of Trenton, for use in this problem, and it was hard to make a 
choice. So, either one will be acceptable, and received in 
the exhibition of Study Course work. The comments on the 
plate problem are applicable here. 
6. The Tile or Slab problem gives all lovers of naturalistic 
painting a chance. Let us hope to have some of the best 
picture paintings ever shown in ceramic work. Flowers, 
still life, figures, and landscapes all come under this head. 
What is most stimulating is the thought that this produc- 
tion is in permanent form, that it will outlast all the centuries 
of perishable paper and canvas. The problem calls for a 
9" X 12" slab. As this size seems a little large, a slab yi" x 9" 
will also be accepted. It is suggested that all framing be 
uniform, of black or dark wood, 2" molding, flat, so that it 
can be packed better for the traveling exhibition. 
7. The Cylinder Vase gives an opportunity to ambitious 
workers, and will help to make an attractive showing for our 
outside friends. 
This exloibition will be held under the finest auspices at 
the Art Institute in Chicago. Elaborate and suitable pre- 
paration will be made for us, and we in our turn, must not 
prove a disappointment to their generous hospitality. After- 
ward the exhibition will travel to our various home cities, 
bringing inspiration and incentive to every Club Center. 
Will you do what you can to make it a success ? 
Mary Chase Perry, Chairman of Education. 
FREESIA 
K. E. Cherry 
THE flowers are a creamy white; put background in after 
carefully sketching the flowers in. For background use 
violet, yellow, apple green shaded to sea green and black — 
then wash flowers with yellow very light and shadows of 
violet and brown green. Leaves are made of moss green, 
shading green and black. 
Second fire: — Strengthen background, put sharp touches 
on flowers of j^ellow brown and brown green, touch leaves with 
same as used in first firing. 
