Vol. JX, No. 6 
SYRACUSE, NEW YORK 
October, 1907 
ERAMIC STUDIO announces the 
beginning in an early number, of a 
series of illustrated articles on 
"Design for the Decoration of 
Porcelain" by Caroline Hofman, 
whose work was so admired for 
originality and technique at the 
last exhibition of the New York 
Societ)^ of Keramic Arts. This 
series of articles has been reviewed 
and endorsed by Mr. Ralph Helm Johonnot, instructor in 
composition and design at Pratt Institute. From a hasty 
review by the editor it is judged that this series should be 
among the most useful published by the magazine. 
* 
The Keramic Studio management is taking under 
consideration the enlarging of the scope of the magazine. 
The space allotted to ceramics would be the same as always 
and as specially considered, but so many of our subscribers 
ask continually for instruction in water color, oils, drawing, 
etc., etc., that we feel that an added department of instruc- 
tion in these branches would be gladly received. Opinions 
and suggestions on the subject would be welcome from our 
readers. 
We have received a very interesting account of the 
exhibition of Mr. Fry's summer class work at the "Way- 
side" Southampton, h. I. As it arrived too late to make 
illustrations for this number we shall hope to give the fuller 
account in a succeeding issue. 
* 
This issue is filled with "odds and ends" in the en- 
deavor to present new motifs drawn from summer studies 
and other sources for the use of the ceramic designer. The 
November number will be edited by Miss Jeanne Stewart, of 
Chicago. 
* 
An interesting and helpful booklet on Classroom Prac- 
tice in Design has lately come to the Keramic Studio 
editorial table from the Manual Arts Press of Peoria, Illinois. 
It is the work of James Parton Haney, is well illustrated 
and helpfully arranged. The opening paragraph will give 
an idea of the scope of the work : 
"Any discussion of classroom practice in applied design, 
naturally divides itself into a consideration of the problems 
to be solved and the methods to be employed in solving 
them. The sequence of problems constitutes what is famil- 
iarly known as a course of study, and to the principles which 
underlie such a 'course' attention must first be directed. 
These principles may be stated as follows: (i) The designs 
made must be for use. (2) The forms decorated must ad- 
mit of decoration. (3) The designs must be based on struc- 
ture. (4) Their treatment must be conditioned by ma- 
terial. (5) They must permit individual interpretation. 
(6) Each problem in the sequence should develope through 
a similar series of steps with increasing complexity in the 
relations of the elements employed." 
The booklet is full of good subject matter both for pupil 
and teacher. 
ASTERS (Supplement) 
WATER COLOR TREATMENT 
Teana M cL en n an. 
THIS study is painted on tinted paper in the opaque 
method, by this I mean that the ordinary water colors 
are used, being careful to have a clean wash with as much 
detail as is consistent, and then using the White with the 
high lights, and in this manner strengthening and purify- 
ing the lights and half tones. To those not accustomed 
to this method, it is advisable to leave the shadows as they 
were washed in adding a little detail here and there if nec- 
essary, but not using any White. After a little practice, 
one soon finds where it is wise to use the White. The pink 
asters are washed in first with Van Dyke Brown and Car- 
mine in the shadows and Safflower in the lights, this is a very 
brilliant color and adds much to the purity of the color 
when the White is added. A little Emerald Green is a 
great help in the half tones. 
The Davender — New Blue and Carmine for the shad- 
ows and New Blue and Safflower with a little White for 
the high lights. 
Purple — Carmine, New Blue, Paynes' Grey and a little 
Crimson Bake for the shadows and for the lights, a touch 
of Safflower and New Blue with the White. 
The White — Lemon Yellow, Paynes' Gray and Hookers' 
Green No. 1 with White and Demon Yellow in the high 
lights and perhaps a little Emerald Green. 
The leaves — Hookers' Green, Prussian Blue, Paynes' 
Grey and Brown Pink in the shadows, in the lights Hook- 
ers' Green No. 1 and Emerald Green mixed with White. 
The background — care should be taken to have clean 
water and a clean brush as any White mixed with the the 
background will prove disastrous. Another thing to be 
observed when laying in a background, work from the top 
down always. Use Prussian Blue very lightly, Paynes 
Gray and Van- Dyke Brown and no White. 
ASTER TREATMENT FOR CHINA 
Maud Mason. 
THE pink flowers are laid in with Pompadour, Albert 
Yellow and Olive Green in the centres. The lightest 
purple asters are in Violet and Banding Blue, the darker 
ones in Violet and Royal Blue fading into a background of 
Royal Blue, Violet and Black, with a little Ruby introduced 
toward the lower part of the panel. The lighter parts of 
the background are painted with Blue Green, Russian 
Green Ivory, Albert Yellow, Olive Green and Brown Green. 
The leaves are in Yellow Green, Myrtle Green and Brown 
Green. 
The background should be carried along with the paint- 
ing of the flowers or put on before the flowers have dried 
so the whole thing can be blended together. 
The same palette is used in retouching, keeping the 
washes as broad as possible and not being tempted into 
bringing out too much detail. The pinky flowers are 
flushed with Rose, the lighter purple ones with Banding 
Blue and Copenhagen, the darker purple one with Violet 
and Royal Blue. 
