56 
I1ERAMIC STUDIO 
f f mi r^i'Ti "aiir r'Tl 
BORDER -CONVENTIONALIZED FEATHER 
N every art, craft, or science there 
are a few elementary rules and 
facts, which, being thoroughly 
learned and mastered, are of in- 
estimable value, and are in fact 
vital to the success or failure of 
the student. 
This we may call the theoreti- 
cal part and is the accumulative 
result of the best work, study and 
experience of those who have gone before. 
The practical part is necessarily acquired only by ex- 
perience and experiment and is the personal working out 
and the acquiring to one's self the knowledge contained 
in the theoretical principles. 
This as a preface to an item of advice, that in the 
ceramic art one should begin at the beginning, and the 
beginning, to my mind, is draughtsmanship, which is too 
seldom exploited in the china decorating studio. 
Draughtsmanship is important, more especially so in 
the so-called conventional work and the lack of instruc- 
tion therein is the principal reason for the discouragement 
of the occasional worker in this line. 
Care must be taken to have a clear, well drawn and 
smooth outline. Do not think to cover up or detract at- 
tention from a poorly executed outline by your color scheme, 
no matter how beautiful and harmonious it may be it will 
not correct the defect. No amount of color can make a 
design if the drawing be bad. 
On the other hand, a perfect outline will often take 
away or subordinate the effect of an insipid color scheme. 
This is the key to the successful execution and applica- 
tion of a conventional design. 
Among the very few things that need be written about, 
one is the handling of the brush. Strength of muscle in 
any degree is not a requisite, the nerve should control. 
To produce the best results nothing more than the mere 
weight of the brush is necessary. 
In this manner one can in time actually feel with the 
point of the brush, and then it is that individuality will 
appear in the work, which I think should be striven for. 
It means something more than technique, however perfect 
that may be. 
There are few practical hints or suggestions that can 
be intelligibly followed when reduced to writing, the prac- 
tical part is acquired mostly from personal experience and, 
to amount to much, must necessarily be. You can learn 
more from your mistakes than from others' perfections. 
As, in writing, the hardest thing is to find something to 
write about, so in ceramics the hardest part is to find a 
subject to paint about. 
A brief course in designing will increase the pleasure 
in the work and the efficiency of the student, and then 
you will find that the "copy" grows on every tree, can be 
found on the streets, in coffee grounds and tea leaves, 
in and about the house, at home and abroad. 
Marie Crilley Wilson 
CONVENTIONALIZED FEATHER 
BACKGROUND, delicate wash of Brown Green; tip of 
feather, Delft Blue; the remaining portion, Brown 
Green two-thirds, Grey Green one third. 
& J, 
VIOLET STUDY (Supplement) 
Make a careful drawing of flowers and leaves of center 
group. Then impress on china panel, using graphite im- 
pression paper for this. 
The palette for violet shades is, Violet No. i and No. 2, 
Royal Purple and Deep Blue Green and a very little touch 
of Shading Brown. Ivory Yellow, very light, in center 
petal and very delicately traced veins of Shading Brown 
with a touch of Black. 
For leaves use Shading Green and Brown Green and 
Russian Green and for lights a little Yellow Green and 
Yellow Brown. 
Combine these colors to make a successful interpreta- 
tion of the whole. 
Paint centre group rather delicately for first firing, 
leaving out any accentuation and the details for second 
and third firings. 
Having painted center flowers and leaves only, and 
leaving violets in shadow, proceed with background tint, 
which must be very liquid. For this use Pearl Grey and 
just a suspicion of Grey Green. After padding this very 
evenly, when nearly dry, dust with Ivory glaze. 
When this has been fired finish your centre violets 
and leaves and over your background paint remainder of 
design which is in shadow. Make this of a warmer tone; 
draw the flowers and leaves with your brush, the outline 
will be soft and the appearance of having been labored 
over will be spared. 
