212 
ftERAMIC STUDIO 
Helpful, really beautiful, things that are within the 
reach of everyone will be mentioned from time to time in 
these papers, and sometimes given with the text, and the 
student who is really eager for the best examples of design 
to study will be constantly finding them for himself. 
Now, with this preliminary lecture well over, we must 
go to work to design. When we want a design we must 
try it in half-a-dozen different ways, and if it will not go 
this way, perhaps it will go that way, — and this need of 
ingenuity soon gives us active imaginations. 
But we must do our trying without wasting time by 
round-about methods, so we can learn to "blot in" our 
designs, roughly at first, working wholly for a good space- 
division instead of carefully drawing our motif. 
Get your design well proportioned, well spaced and you 
can polish your drawing later. 
Shall we try, first of all, a border of "line and dot" 
pattern. This will serve to bring our principles into service, 
and you will be surprised to see how much beauty and 
variety can be achieved with these simple elements of 
decoration. To be continued. 
PRIMROSES (Page 205) 
Maud E. Hulbert 
USE Warm Grey and Lemon Green for the shadows of 
the flowers and Lemon Yellow and Moss Green for 
the markings on the petals, and Brown Green for the centers 
and a little Chestnut Brown to give the depth of the centers. 
The green of the primroses is very bright and tender, use 
Moss Green, a little Deep Blue Green and Brown Green. A 
very light wash of blue in the last firing over the white 
flowers in the high light, usually makes it appear whiter. 
STUDIO NOTES 
Miss Fannie M. Scammell has removed her studio to 
43 West 27th Street, New York. 
Miss Mellona Butterfield of Omaha, Nebr., has opened 
a new studio at 894 Brandeis Bldg., where she will be 
pleased to see her friends. 
TILES IN MONOCHROME— RUTH E. KENTNER 
