KERAMIC STUDIO 
147 
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SALT SHAKER AND CUP AND SAUCER— FLORA M. HERRINGTON 
BEGINNERS' CORNER 
JESSIE M. BARD ------ Page Editor 
Dickinson Seminary, Williamsport, Pa. 
SALT SHAKER AND CUP AND SAUCER 
PAINT flower design and wide bands on cup and saucer 
with Green Gold. Fine line around panels is Black. 
Go over the dotted space and top of salt shaker with a heavy 
wash of Mother of Pearl or Opal Lustre. 
Second Fire — Burnish the Gold and go over it with a 
second coat and put the dots on the shaker with Gold. 
BORDER FOR PLATE OR SAUCER 
DRAW the bands on the plate and then trace in the design. 
Plate should be divided in 3 or 5 sections according to 
size of plate. Outline the small flowers, leaves and center of 
large conventional flower with Black. Paint the bands and 
large flowers with Gold, the small flowers are painted with 
Deep Blue Green and a little Turquoise or Sea Green, Leaves 
are Apple Green and a little Yellow Green. Center of all 
flowers are Yellow Brown and a touch of Yellow Red. 
Second Fire — Put another wash of Gold over the first one. 
BORDER FOR PLATE OR SAL CER— GRILL A E. MIRER 
SUGGESTIONS FOR THE BEGINNER 
Ida Nowells Cochran 
BEFORE taking up china decoration care should be exer- 
cised in choosing a teacher. Perhaps you do not know 
good work when you see it. Call on several teachers and com- 
pare work as well as prices. Take some one with you who 
knows. If more of this were done there would be fewer sins 
committed in the name of "decorated" (?) china. After you 
have chosen your teacher follow her advice. If she advises 
against certain pieces or certain decoration follow it. A tactful 
teacher can guide her pupils in the right paths without an- 
tagonizing them, even though it is not the style of decoration 
they had originally planned to do. Follow her advice in 
regard to choosing materials. Buy only standard makes — 
something which has been proven. Cheap materials make 
cheap looking work. I do not confine myself to one make, 
however, as I like some colors of one kind better than others. 
Do not begin this work with the idea that you will be able to 
master it in a few months; or, that you do not have to prac- 
tice at home. A music pupil would advance little if she only 
touched the piano at her lesson hour. If you only want a few 
pieces of china and do not care whether you or the teacher 
does the work do not begin at all but hire your work done 
and your result will be better china for you, a relief to 
teacher and will eliminate the possibility of your claim to 
having done something which in reality is the teacher's work. 
Always be on time for your lesson and if unable to attend notify 
your teacher as early as possible. Do not let a trivial thing 
keep you away from your appointment — the teacher invariably 
keeps hers. 
The following are some rules which I observe in my studio 
and which may be of help to others. Each pupil lays her 
palette directly in front of her on the table with its cover 
underneath. To the right is a folded rag which has been cut — 
not torn — as torn rags make lint. I keep a pair of scissors 
on the table. Just above rag to right is mediums; above this 
is turpentine. My pupils keep medium and turpentine in 
covered cold cream jars. Next the rag the pupil lays out her 
brushes, ' palette knife, china pencil and pen as it saves the 
teacher the necessity of fumbling in the palette or a box for 
them. Above the palette paints, bottles, etc., can be arranged. 
All boxes or baskets for carrying materials may be put on the 
floor at pupils' feet or left elsewhere in the room. This leaves 
the -left side free for any other materials needed. Colors on 
palette are arranged in three rows from left to right — top row 
