RERAMIC STUDIO 
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THE exhibition of the National Society of Craftsmen in 
collaboration with the National Arts Club, closed 
December nth, too late for this issue, but a full account 
will be given with illustrations in the February number. 
The lettering on the Editorial page and the Rose border 
on this are by Maud E. Hulbert. 
hampton, Long Island, of 
ry's summer classes was of 
1 craftsmen. 
.er, designer, and teacher, 
naturally leads us to look for the most advanced methods; 
and this expectation has been more than fulfilled by the 
summer's work at "Wayside." 
The course of study included out-of-door work in oils 
and in charcoal — for composition and the handling of these 
two mediums, — and an interesting course of design specially 
adapted to ceramics. 
To illustrate the work of the entire term the big barn 
at "Wayside" had been turned into an attractive exhibi- 
tion-gallery; and here, hung against walls covered with gray- 
toned canvas, were selections from each department of the 
summer's study. 
Beginning with interpretations of beautiful designs 
from the best periods, the exhibition led on to original work 
of the students which showed, in a marked degree, their 
appreciation of the fine qualities in the ornament they had 
been studying. 
One feature of the work met with special enthusiasm: 
a collection of designs for small porcelain panels done in 
soft brilliant colors. They were in absolutely flat tones, 
each designed as carefully as a bit of old mosaic; and in 
such splendid color-harmony that they fairly glowed in 
their narrow black frames. The students who came for 
the study of landscape exclusively had two walls of the 
improvised gallery allotted to groups of their work; and 
the oil studies and sketches, and the charcoals, showed a 
painter-like quality, a vigor of handling, and a sympathy 
with the summer's training, that would do credit to an ex- 
hibition of far greater pretentions. 
Mr. Fry's earnest study with such masters of landscape 
composition as Whistler, Dow, and Brangwyn, together 
with his unusual talent, has given him ability as a painter 
and instructor which the public is not slow to appreciate. 
In the house one room was entirely given to ceramic 
designs and the finished pieces; and here the members of 
the class who were ceramists, had done themselves and 
their instruction great credit, while the interesting and well 
planned design, and the beautiful colors, had all been 
resolutely held within the bounds of suitable decoration 
over the glaze. 
Plates, bowls, and other pieces of china, of quiet line 
and good proportion, showed a beauty of pattern and a 
charm of color which were a delight both to the visitors 
and to the students themselves. Caroline Hofman. 
LEAGUE NOTES 
The illustrations on pages 208 and 209 of this 
number of Keramic Studio will be of special interest to stu- 
dents of design as well as to League members who have fol- 
lowed the League study course this season. If these members 
will compare their own drawings of "Facts from Roses" 
with the excellent one by one of our League members, Mrs. 
C. H. Shattuck, of Washburn College, Topeka, Kansas, 
they can easily see where they failed to make as complete 
an analysis of the plant. In most of the drawings sub- 
mitted the analysis was much too general and dreamy and 
while many were pleasing they lacked a certain vigor nec- 
essary for style or emphasis in design. Vigor and snap is a 
characteristic of most rose plants. Nature's facts should be 
represented in no uncertain outlines and with a minute at- 
tention to all detail. This familiarity of detail is invalu- 
able as a suggestion to our creative mind when convention- 
alizing for design. 
The question has been asked by many "how shall I 
apply the facts gained from my study of the rose to a 
design. " To answer briefly, the design must be an orderly 
arrangement of these facts, it must first be in the mind, 
then depict it. First, consider what it is for, second, the 
constructional arrangement, third, the superstructure or 
enrichment. As the growth of the plant differs under the 
different conditions of its environment so must the use of 
it in design vary according to the shape to be decorated. 
