VoL XV. No. iU 
SYRACUSE, NEW YORK 
March I9I4 
HE editor has an apology to make 
to the readers of Keramic Studio for 
occupying so much space with the 
work of the design class of the Four 
Winds Pottery Summer School. The 
fact of the matter is that there was 
so much good and instructive mate- 
rial to select from that the editor did 
not know where to stop, and before 
realizing the space it would take, had 
sent too much material to the engravers. When she found 
there was more than enough to fill the issue assigned to it, she 
was forced to carry the balance over to the present issue. She 
apologizes and "will not do it again." However, to those study- 
ing design it will be most instructive to see how the same motif 
can be varied. 
>i' 
A good friend of Keramic Studio has been complaining that 
we give too much space to one prominent teacher's work. We 
have had this complaint before and we have endeavored to give 
as much variety as we could. It is not purposely that we do 
not give more from the other prominent teachers, but, as we 
explained the last time the complaint was made, not all teachers 
are as generous with their best designs. For some reason they 
feel that to publish them detracts from their studio receipts, as 
if there were no more ideas in their "think tank." Many have 
still to learn that this is a case where it is more blessed to give 
than to receive, for the more you give the more you get. The 
more designs you make the more and better you can make. We 
will try, as we have always tried, to give the best we can get and 
to give as much variety as possible. 
We are showing some illustrations of notable work by Mrs 
Dorothea Warren O'Hara, the pioneer in her style of enamel 
work. While fine enamel work has been done for some years 
past by a number of prominent teachers, both in raised and 
flat enamel, it has remained for Mrs. O'Hara to introduce this 
particular style of large and bold designs carried out in this 
medium. Her work has met with deserved success, the prom- 
inent characteristics being fine color and firm execution. The 
exhibit of Miss Maud Mason in a similar medium shows the 
masterly execution, fine design and interesting color schemes 
with which all are familiar. The technique of both these 
teachers is worthy of study. 
Has any one given thought to the exhibit of overglaze dec- 
orated ceramics at the San Francisco Panama Exposition? Mr. 
Robineau, of Keramic Studio, expects to go to San Francisco to 
arrange the exhibit of Robineau Porcelains and Keramic Studio 
Publications, and if a sufficient number of decorators wish to 
take part in the Exposition, he will, if desired, take charge and 
arrange such an exhibit. If the decorators interested will no- 
tify Keramic Studio, we will make all necessary inquiries as to 
space, show cases and the attendant expenses. It would be 
most impressive if the decorators from all over the countrj^ 
would combine and have one large exhibit. This would attract 
much more attention than scattered groups. Let us hear as 
soon as possible from the various decorators and we will look 
well into the subject and publish all details. 
LITTLE THINGS TO MAKE (S«pplemcnt) 
Kathryn E. Cherry 
OVAL BOX 
OUTLINE design in India Ink, then oil the yellowish brown 
places and dust with Coffee Brown. Then oil the 
green spaces and dust with Green Glaze, then paint in Black 
outlines, then the gold, then fire. 
Second Fire — Paint the entire box with Yellow Brown 
Lustre thinned with lavender oil, then fire. 
Third Fire — Go over Black where necessary and go over 
the Gold again. 
» K 
TALCUM OR POWDERED SUGAR SHAKER 
Outline design with India Ink in grey outlines, then 
oil the dark blue spaces and dust with Dark Blue For 
Dusting, then oil the grey spaces and dust with Dove Grey. 
The Light Blue next in flowers is oiled and dusted with Grey 
Blue. Then put the Gold in with Green Gold. 
K K 
SALT AND PEPPER SHAKER 
Outline design with India Ink and grey the lines, then 
oil and dust the green spaces with Florentine Green, be sure 
the oiled spaces are oiled very thin or the color will be too 
heavy, then paint in the Gold. The red touches are made 
with Yellow Red painted in, this is a good design in gold 
where the green is and green where we have gold. 
SALT DIPS 
Oil the gi-een spaces and dust with Glaze for Green 2 parts 
and 1 part of Bright Green. Then put the pink in which is 
Cameo dusted in, then paint in the Gold. 
K K 
OINTMENT BOX 
Outline design in India Ink and grey the lines, then oil 
the dark spaces and dust with Water Green No. 2, then oil 
the lighter green spaces and dust with Bright Green, then put 
in the gold spaces, then fire. 
Second Fire — Oil the entire surface and dust with Glaze 
for Green. Clean out the Gold, then fire. 
K K 
CANDLESTICK 
Outline design with India Ink, grey the lines, oil the 
green lines and larger spaces, dust with Water Green No. 1 
three parts. Water Green No. 2 one part; then oil the blue 
spaces and dust with Water Green No. 1 one part and Water 
Blue one part, then oil the gi^een spaces and dust with Glaze for 
Blue one part and Bright Green one part, then put in the Gold. 
K K 
SYRUP JUG 
Trace design in carefully, outline in soft grey lines with 
stick India Ink. Then oil the green spaces and dust with 
Florentine Green, then oil the brown spaces and dust with 
Deep Ivory then the flower forms and dust with one part 
of Y^ellow for Dusting, three parts of Glaze for Green. The 
centers are painted in with Yellow Brown and a little Yellow 
Red. 
