Vol. XIX, No. 9. 
SYRACUSE, NEW YORK 
January 1918 
E are beginning with this issue a series 
of articles on design by Mr. Albert 
Heckman which should be of great 
value to those decorators who wish 
to really know something of design 
and its possible application to other 
mediums than china. Though this 
first lesson is on designing for printed 
textiles, the motifs may easily be 
adapted not only to the china itself 
but to table linen, room and furniture decoration, stencilled 
or block printed hangings and all the accessories that go to 
make up a complete picture in the home. 
We hear from various sources that the shortage of china 
for decoration is not so great as one would have imagined, 
that there is still quite an amount available for decoration, 
especially since ceramists have taken up the decoration of 
crude earthenware in yellow, brown, blue, etc., such as is used 
in our kitchen, as well as the various undecorated Japanese, 
Chinese, Italian, Wedgewood, etc., etc., to be picked up here 
and there. There is still plenty of opportunity to carry out 
one's designs for table ware, both china, glass and pottery. 
At the recent exhibition of the Art Alliance in New York, 
an exhibit of the work of "Master Craftsmen," a number of 
quite important pieces both in size and design were shown, 
executed in copper lustre as well as on yellow pottery, in 
brilliant enamels. 
K K 
From a letter to the Editor: 
"We are a city of clubs, and thousands of our best-women have listened 
to out of town speakers, who in their lectures on "Home decoration" have 
ridiculed what they called hand painted china. This was our first blow. 
Free instruction in china painting in our department stores, followed by a 
flood of horrors for sale in every corner grocery, seemed like a vindication for 
the out of town lecturer.. 
This is not the first time we have heard of the ill advised 
and indiscriminate condemnation of amateur decoration of 
china. Ill advised, because china, table ware especially, is 
quite as legitimate a field for the exercise of one's taste and 
artistry as is any other medium for "Home decoration;" in- 
discriminate because the critic ignores or is ignorant of the 
extremely artistic work of some of our foremost decorators. 
The fault is not in the decoration but in the decorator. If our 
decorators of china would study design and the principles of 
decoration, there would be less criticism. 
X X 
Several interesting designs were received for our glass 
competition. Many had the defect of being too heavy, too 
much like designs for china. A decoration that is suitable 
for china may not be suitable for glass. The main beauty of 
glass is in the shape and the color. Decorations in gold, 
enamels, etc., should be used sparingly and be confined to the 
simplest designs. 
The awards in the competition were: 
First Prize, $10 to Mrs. Leah Rodman Tubby of Los 
Angeles. 
Second Prize, $5, to Miss Lola St. John, Albany, Ind. 
Mentions to Mrs. D. Elizabeth Roberts of Philadelphia, 
Miss Venita F. Johnson of Escalon, Cal., Miss M. A. Yeich 
of Lorane, Pa. and Miss Laurel G. Foster of Montreal. 
H X 
Sculptors throughout the country are preparing to sub- 
mit designs for the bronze equestrian statue to be built in 
Havana in memory of General Maximo Gomez "The Cuban 
Liberator." Prizes aggregate $17,000, the winner's prize 
being $10,000. Cuban consuls throughout the country have 
been supplied with conditions of the competition wihch will 
close next April. 
» » 
The Editor again offers to exchange Keramic Studio 
publications or Robineau porcelains for stamp collections for 
her son's Christmas. 
GLASS DECORATIONS (Continued) 
D. M. Campana 
I PRESUME you can now pick up the glass without put- 
ting your fingers on the lustre: You have it standing on 
a dish, tile or any other flat article. Remove the dish and the 
painted glass and put them at once in the drying box or over 
the warm stove. If nice and warm, your lustre will be dried 
in about 15 minutes. Now set it aside in a dry place, away 
"from dust, to be fired whenever you are ready. 
If your fired lustres show spots, you have only yourself 
to blame. Spots cannot be easily remedied, especially on 
transparent glass. Lustres contain a good quantity of dis- 
solved rosin, which, being naturally tacky, will retain every 
bit of lint flying in the air, and this rosin being absorbed by 
the lint, an empty spot is left in firing. Spots may also be 
caused by humidity, and both humidity and dust should be 
avoided. I have fired hundreds of pieces without spot marks 
and have come to the conclusion that others can have the same 
results by following the methods I have used. 
I will now suggest a few easily attained effects, so that 
students will have the satisfaction of obtaining at once good 
decorations without spending too much time in experimenting. 
If you can purchase a good piece of glass, such as a jar or 
creamer or mayonnaise dish, bonbon dish, etc., not top thin, 
try to paint this with Amethyst lustre. Use a good size, clean 
shader, the largest you have, the larger the brush the quicker 
and better the result. Apply the lustre on the outside only 
(by applying it both inside and outside the lustre will be darker). 
Cover every little part and place the glass to dry at once. 
Another good effect is obtained by the use of Blue Pearl, 
a light and very decorative blue shade. Try this color on a 
standing piece, vase, jar, etc. 
Iridescent Pearl also gives interesting effects. I found 
that Mother of Pearl or Opal, as used for china, did not have 
enough opalescent effect, enough fire, so to say, but this 
Iridescent Pearl gives perfect results. It is full of color and a 
glass covered with it looks very beautiful. 
Another attractive lustre is Orange for Glass. I found 
though that this special color is better when padded, while I 
never pad other lustres. Orange fired, then covered with 
Iridescent Pearl, gives striking results. 
For drinking glasses, tumblers, goblets, sherbet glasses, 
