Vol, IX. No. 12 
SYRACUSE, NEW YORK 
April, 1908 
E have opened in this number a 
new department under the title of 
"Happy Study Hours." It is espe- 
cially for the home workers and 
students who have no access to 
teachers in the larger cities. We 
are sure that these articles are 
going to be very helpful and you 
can help them to be more so by 
writing about your own special 
needs and troubles to the "Happy Study Hours" de- 
partment, Keramic Studio. 
We call the attention of our readers and especially 
would be designers for reproduction, to the letter from the 
Central City Engraving Company's manager; it is re- 
markable how few know the proper way to prepare designs 
for publication. Because a design looks well on Japanese 
tracing paper, or in color, it is taken for granted it will look 
well in reproduction. But the little light or glistening 
spots in the tracing paper all show in the reproduction and 
give a mussy, spotty effect. India ink on Bristol board or 
black and white wash drawings on a smooth paper or, as Mr. 
Minor suggests, sepia, give much the best effect. A rough 
paper shows also the" mottled effect of its little shadows and 
makes a poor reproduction. 
*• «e 
To the Publishers of Keramic Studio: 
Gentlemen — Having had several years experience 
making engravings for your publication, I am satisfied that 
there might be much improvement in the quality of your 
illustrations if the design contributors understood better the 
requirements of the engraving processes to which their 
work must be subjected. In order that justice may be 
done to the efforts of the artist, it seems desirable that we 
"get together" for the mutual good of all concerned. 
That you receive many beautiful studies which are 
desirable copies from the engraver's standpoint, will not 
permit us to overlook the many others from which no 
amount of skill and process handling could ever produce 
satisfactory plates. 
Allow me therefore to suggest that you accept for 
publication in one or two colors, only drawings made in 
monochrome. The best half tones are made from wash 
drawings in sepia with burnt umber for the deeper shadows. 
These wash or brush drawings should be made on a suitable 
surface, not too rough, as the action of the lenses, during the 
making of the half tone negative, will reproduce the grain 
of the drawing board or paper at the same time that they 
reproduce the various shades in the drawing itself. 
Of course when the plates are for supplement subjects 
in colors, the drawings should be made in full color, but for 
reproduction in one or two colors, never. The artist should 
bear in mind the actinic values of the different colors of the 
spectrum in the following order: Violet, Indigo, Blue, 
Green, Yellow, Orange and Red, remembering always that 
the lighter colors visually, like yellow and orange, if put 
into the drawings, will reproduce darker than the colors 
nearer the violet end of the spectrum. Thus the relative 
values olthe different colors in the copy will be more or less 
changed in the reproduction. 
All pen drawings should be made on a fine, smooth 
quality of Bristol board, using jet black drawing ink. 
Occasionally designs made on a rough board with black 
crayon (not pencil) can be reproduced by the engraving 
process with the interesting and artistic spotted effect of the 
copy, but of course this process is to be recommended only 
in exceptional cases. 
Studies should not be made smaller than the size they 
will have in the reproduction. The enlarging of a copy is 
seldom satisfactory. But studies can be made larger than 
the size of reproduction, as they will not suffer from reduc- 
tion in the engraving process, on the contrary will often be 
improved by it. 
Copy should never be folded or creased. 
It might be a good business proposition for the Ker- 
amic Studio to furnish to its art contributors a moderate 
quantity of the proper materials necessary to produce the 
desired effects. 
Should any of your artist friends care enough about 
this matter to take it up personally with me, it will give 
me pleasure to answer any possible inquiries on the sub- 
ject, without further encroacn'ing on your space. 
Very truly yours, 
I. L. R. Minor, 
Central City Engraving & Electro typing Co., 
Syracuse, N. Y. 
*• <f 
LEAGUE NOTES 
The annual exhibition of the National League of Min- 
eral Painters opens at the Art Institute, Chicago, the even- 
ing of April 28th, two days earlier than the date given 
in -February number of Keramic Studio. It will remain 
until May 26th and then will be exhibited in its entirety 
at Burley and Co's. 120 Wabash Ave., for one week. 
The Chicago Ceramic Art Association and the Water 
Color Exhibitions will open the same evening. Members 
of the League may secure cards for themselves and friends 
by applying to the Secretary of the League. The Exhi- 
bition Committee of the Municipal Art League have ar- 
ranged a special Gallery Tour May 14th for the Ceramic 
exhibition at which the President of the N. L. M. P. has 
been asked to speak on Ceramics. These Gallery Tours 
are arranged for the benefit of the fifty-six clubs of Chicago 
and Cook County affiliated with this Exhibition Committee 
and are largely attended by their members. It is evident 
that the interest in Ceramics is increasing. 
Every League member ought to be represented by 
one or more pieces at this exhibition. The honor of having 
one's work pass a critical jury and exhibited at the Art 
Institute is as gratifying to the china painter as to any artist. 
Entry blanks containing directions for sending the work 
have been mailed to every member. Those who wish to 
send work for exhibition in Chicago only should mark this 
plainly on their entry blanks, otherwise they will be sent 
with the traveling exhibition. These entry blanks should 
