Vol. XV. No. 10. 
SYRACUSE, NEW YORK 
Fcbrtiary 19 H 
E are devoting this issue of Keramic 
Studio to the work of the ceramic 
design class of the Four Winds Sum- 
mer School under Mrs. Kathryn 
Cherry. We present it to our stu- 
dents confident that they will find 
it abounding in useful material; all 
the designs having been made under 
the inspiration and with the correc- 
tion of the teacher, they can be used 
with as perfect confidence as if made by Mrs. Cherry herself. 
Some of the other pupils not being able to attend the full six 
weeks, we were unable to secure specimens of their work but 
we consider that we have a very representative lot. Among 
those whose work we missed was Mr. Albert Heckman, who 
has been a correspondence pupil of Mrs. Cherry's for some 
time, but his fine work is well known by all our students. 
For the benefit of those who have not yet reached the 
point where they know how to use the material presented 
to them, the following suggestions are made. The rectangu- 
lar panels can be used on square boxes or trays, or repeated 
on cylindrical shapes. They can be arranged without the 
enclosing lines to make repeated borders or medallions placed 
on opposite or three sides of a bowl or vase, finishing the edge 
with color bands alone or broken at intervals by a single 
blossom. They can also be adapted to tiles. The round 
medallions can be used for tops of boxes, centers of bowls or 
without the lines, used as medallions on the outsides of vases 
or bowls. The odd "flower motifs" can be used in the same 
way, or made into borders by using connecting or enclosing 
lines. The same thing can be done with the garden motifs 
and the motifs from the all over patterns. Very handsome 
jars can be made by using the allover, adapting it to a simple 
shape. Any desired color scheme can be used beside those 
given in the supplement. The designs are all finer in the 
dusting colors, but your own colors may be made to approxi- 
mate the effect. The borders are suitable for bowls, plates 
or cups and saucers or other shapes, by varying the width of 
the border to be in good proportion to the articles decorated. 
Any one with a little ingenuity can make new and interesting 
arrangements to suit whatever shape is chosen. 
A good plan in choosing a color scheme is to make several 
tracings of the design to be used and fill these in with various 
colors till a harmonious combination is found. Do not be 
afraid to try all. sorts of colors bright as well as dull. We 
are too much inclined to stick to the old and hackneyed color 
combinations. Some very brilliant colors may be used with 
charming effect, especially the in the garden motifs. A bright 
soft apple green, with a brilliant purple blue and a touch of 
orange or bits of scarlet and orange with a bluish purple and 
a rich pui'e green, or if the taste runs to more subdued effects, 
the grayed tones of Mrs. Cherry's own dusting colors are 
very charming and always just right. Many of the bolder 
flower motifs ai'e extremely effective in etched gold, using 
two or three colors of gold or silver with a soft lustre and a 
bit of brilliant color or enamel. Most of these designs however, 
were carried out in dusted color and soft effects, enamel 
and gold being reserved for the daintier pieces such as the 
Satsuma boxes and jars. The ground motif was used mostly 
with heavily dusted black outlines, filled in with gold or silver 
lines and soft tints of lustre. The designs which were executed 
on Sedji ware were usually in silver and fiat enamels. The 
colors are dusted one at a time and edges thoroughly cleaned 
before another color is applied, in this way almost all the color 
can be laid in at one fire, giving an opportunity for strengthen- 
ing and retouching in a succeeding fire. 
CONVENTIONAL DESIGNS (Stjpplement) 
(From Four Winds Summer School) 
Treatments by Jessie M. Bard 
Left Hand Row, Top to Bottom 
A. W. M. — Oil entire space and dust with three parts Dove 
Grey and one part Warm Grey. Second Fire — Oil darkest 
spaces and dust with Dark Blue for Dusting. Oil light blue 
spaces and dust with Grey Blue. 
E. T. — Oil entire surface and dust with three parts Ivory 
Glaze, one Pearl Grey, two Deep Ivory. Second Fire — Oil 
darkest tone and dust with Mode. Oil the bright gi-een spaces 
and dust with Bright Green. Oil yellow spaces and dust 
with Albert Yellow. 
E. T. — Oil over entire surface and dust with three Ivory 
Glaze, one Albert Yellow, one Yellow Brown. Oil darkest 
tones and dust with five parts Black and one part Mode. 
Oil green spaces and dust with Bright Green, lavender spaces 
with Mode and red spaces with Yellow Red. 
M. M. — Oil entire surface and dust with Dove Grey and a 
httle Deep Ivory. Second Fire — Oil dark green and dust with 
equal parts Dove Grey and Bright Green. The light green is 
equal parts of Ivory Glaze and Bright Green. The blue is 
Dark Blue for Dusting. Oil the flowers and buds and dust 
with same color as in first fire using a little more Deep Ivory. 
Centre Row, Top to Bottom 
E. T. — Oil darkest tones and dust with Black, the blue is 
Dark Blue for Dusting, the grey green is two parts Water 
Green No. 2 and one part Warm Grey. Yellow tone is Deep 
Ivory and a little Yellow Red. Second Fire — Oil over entire 
surface and dust with equal parts Dove Grey and Yellow for 
Dusting and clean the color from the flowers and buds. 
Browne — Oil entire surface and dust with one part Rose, 
three Pearl Grey, two Ivory Glaze. Second Fire — Oil and 
dust darkest tone with two parts Mode and one part Pearl 
Grey. The hght grey is one part Mode and three Ivory 
Glaze. Red is two parts Peach Blossom and one part Cameo. 
E. T. — Oil entire surface and dust with three parts Dove 
Grey and one Cameo. Second Fire — Oil darkest tone and 
dust with three parts Black and one Blood Red. Green spaces 
are Apple Green and a very little Yeflow Green. Flowers 
and buds are three parts Ivory Glaze and one Mode. Yellow 
centers are Deep Ivory. 
F. G. — Oil entu'e surface and dust with three parts Ivory 
Glaze, one Pearl Grey, one Deep Ivory. Second Fire — Oil 
