132 
KERAMICj STUDIO 
NEWARK CLASS IN CHINA DECORATION 
Maud M. Mason 
I am sending you a group of photographs of some work 
done in my class in the Industrial School in Newark last 
year. It was a most interesting experience on my part at 
least, to teach our work, design and its application to ceramics, 
in a large class of this kind where the instruction had neces- 
sarily to be in a great measure of a general character. There 
were forty-five pupils registered in the class so you can imagine 
what a busy time I had. The result was most satisfactory, 
however, as a beginning to myself and the school also. I was 
prevailed upon to take it up again this year although I had 
decided to undertake other 
work instead — and have a larger 
class than last year with nearly 
all of the old ones back — prefer- 
ence being given to former stu- 
dents. I find that Newark is a 
most progressive place and a 
pioneer in many directions and 
the school tells me that this is 
the first class in overglaze cer- 
amics introduced into an in- 
dustrial art school in the coun- 
try. It is under the direction of 
the Board of Education and I was delighted to get an entering 
wedge into schools of this class, as I felt that our greatest 
hope in the growth artistically in ceramics will be due to the 
right teaching in big schools of this kind. It has been a source 
of much pleasure and satisfaction to me and I felt sure you 
would be interested in this work. Let us hope that all other 
schools throughout the country will become interested in 
introducing a ceramic department also. 
[Reproductions of the photographs all shown on this page. — Ed.] 
PLATE (Page 137) 
Anna V. Lingley 
OIL bands, all but the small square in the broken band, 
the lower part of the open triangular design and the 
upper part of the solid triangle and dust with Water Green 
No. 2. Oil the remaining parts of the two triangular figures 
and dust with Florentine Green. Oil the remaining parts of 
design and dust with Deep Ivory. 
ORCHIDS (Supplement) HELEN BECKER 
Treatment hy Jessie M. Bard 
LIGHTEST tone in blossom is Violet and a httle Deep 
Blue Green, shaded with Violet, ? very little dark Pur- 
ple and Banding Blue. Light purple tones are Ruby and a 
little Violet and the darker tones are Ruby and a very little 
Black. Yellow tone is Albert Yellow shaded with Yellow 
Brown. Outline in Black. 
Stems, Auburn or Dark Brown 
with a little Yellow for the lights. 
Leaves, Moss Green and a little 
Yellow Green for the lightest 
tone with a little Brown Green 
added for the darker tone and 
Shading Green added to that 
for the very darkest. Back- 
ground, Pearl Grey and a little 
A^iolet and Yellow for the light- 
est tone and a little Copenhagen 
Blue for the darker tone. 
BEGONIA (Page 133) 
Hannah B. Overheck 
OIL the leaves and dust with Glaze for Green. The stems 
are oiled and dusted with Mode, then the blossoms are 
oiled and dusted with Rose. Second Fire — Oil the background 
and dust with Glaze for Green, clean out the flowers then fire. 
Next firing — Oil the leaves and dust with Florentine 
Green, then clean out the veins and then shade the blossoms 
with Rose and a little Mode. 
CUP AND SAUCER (Page 136) 
Anna V. Lingley 
PAINT all the design in Gold except the small square and 
the figure above it, these are painted with 2 parts Yel- 
low Green, 1 part Apple Green, use the color rather thin and 
paint it rather hea\^^ using a flowing motion. 
