heramic studio 
Grouping a set on one sheet by overlapping of the pieces is 
disturbing, as it does not produce the same effect that the 
actual pieces placed in that same position have. The design 
on one piece belonging to one kind of arrangement, interferes 
with the design of another piece, having a different movement, 
thereby creating confusion." 
First Honorable Mention, Florence E. Segsivorth, London, Ont. 
" This design has a solidity and severity that seem the 
opposite of the second prize. There is a frankness of 
expression, a vigor that is refreshing. In color the con- 
trast between the black and white ought to be modified ; 
this would improve the design. The spaces are well bal- 
anced and related with the exception of the plate, the center 
of which is too small and tight. The cup, bowl and pitcher 
are somewhat finer than the saucer and plate. " 
Second Honorable Mention, Elizabeth J. Hall, Brooklyn, N. Y. 
" While somewhat set as a design this has a severity and 
completeness that compel attention and favorable judgment. 
In the saucer the forms are perhaps crowded and produce 
slight unrest, but in the other forms the repose is maintained. 
A little finer adjustment of spaces and lines would have given 
dignity." 
Third Hojiorable Mention, Katherine Sinclair, Brooklyn, N. Y. 
" In this set the cup is especially fine and complete, the 
saucer on the other hand is overcrowded with shapes too nearly 
of a size; the pointed leaf and rounded flower rather clashing, 
which is not the case in the cup. The reason for this is that 
in the cup design, we cannot see all of the flower and leaf 
forms at one time, as half of the cup is always hidden from 
the eye and secondly the background shapes on the cup are 
better than those on the saucer. The plate is very original 
and well handled as to design, if the flower forms were a bit 
darker or the leaf forms a little lighter there would not be 
so sharp a contrast as at present. The design for the vase 
form is too heavy at the top. The bowl is very well handled." 
Fourth Honorable Mention, Marie C. Crilley, Irvington, N. J. 
"We gave this mention because of the excellence of the 
plate and some merit in bowl, saucer and cup. Saucer 
would be much improved by omitting the small forms 
above each flower. They disturb and overdecorate. The 
plate is very unusual in design and handling. The vase is not 
simple enough ; too many themes used." 
Best Naturalistic Study in Color, First Prize, Elder Blossoms, 
Marshal Fry, New York City. 
"This has very harmonious line quality, is refined, full of 
color and shows much technical ability. In it there is fresh- 
ness of interpretation, it is more than the mere portrayal of a 
flower." 
First Mention, Thistles, Mary Alley Neal,New York City. 
"Thistles have broad handling of the main mass and 
also the cluster of leaves just below this mass. The compo- 
sition is fair and there is much power shown in expression." 
Second Mention, Wild Roses, Henrietta Barclay Paist, Minne- 
apolis, Mimi. 
"Wild Roses. If this sketch had composition it would 
gain very much. It is rather spotty and lacks relation of 
motive to background. Its treatment is noisy but it has indi- 
viduality and a direct fresh handling. It is full of vital color 
and the quality of the wild rose has been splendidly given. 
This worker is capable of strong sketches." 
[CONTINUED ON PAGE 28] 
COMMENTS 
A FEW comments on the year's competition will not be 
amiss and we trust that our readers and designers will 
take the pains to read carefully and remember anent the Au- 
tumn competition. 
In the first place it was the occasion of great surprise to 
find how few understood the meaning of the expression "con- 
ventional study." A conventional study of a flower may be 
made in several diff'erent manners. Indeed, there is more 
chance for personality than in a naturalistic study. There are 
but three conditions. 1st. There shall be no aerial perspect- 
ive, i. e., shading which gives the effect of solidity or round- 
ness. 2d. The study shall be a faithful rendering of the 
general characteristics of the flower without too much detail. 
3d. There shall be no attempt at design, no repeat or balance, 
simply a study of the flower itself. 
The study of Spirea by Miss Larter in January, 1903, 
Keramic Studio, and the study of Dahlias in May, 1902, 
Keramic Studio, by Russell Goodwin, are good examples in 
black and white. The study of Wild Carrots by Miss Mason 
on the vase shown in March, 1903, Keramic StudiO, is an- 
other. A conventional study in color simply has color added. 
Shading is allowable only to show variations of color, not to 
give the effect of form. 
Another point to be noted is that few seemed to under- 
stand about drawing the motif in whole and in detail. A 
reference to the drawing of dandelions with the plate design 
by Bloomfield in August, 1902, Keramic Studio, and the 
flower articles of Mrs. Robineau will make this plain. 
A third point was that very few studies were made from 
nature. To avoid this difficulty the Keramic Studio has 
decided to give the rules for the Autumn competition in this 
May number so that every one will have time to make his 
or her own studies from nature and then make designs from 
the studies. 
A fourth point. Many good designs did not receive the 
favorable attention they might otherwise have had because 
the four forms were crowded together on one page, making so 
much confusion that it was difficult to judge of the merits of 
the design itself. It is always better to have a separate sheet 
for each design so that the effect of the decoration can be 
seen to better advantage on each form. 
Another important point has been pointed out by Mr. 
Froehlich. Try and make your designs workmanlike, neat, 
exact, careful. It is much more liable to attract favorable 
comment. And above all we reiterate what we have so often 
said ; keep your design simple. A design is perfect only 
when nothing can be added to it or taken from it without 
injuring the whole effect. 
It is a pleasure to note the generous response of so many 
of our professional decorators to the expressed desire of the 
editor that Keramic Studio might have in the competition 
work which could be set before our designers as a standard up 
to which they might work. It is difficult for students to un- 
derstand just what is wanted without having an example set 
before them. 
It has been thought well by the management to make 
some changes in the rules regulating our competitions, so that 
students or decorators who are just beginning to try their 
hand at designing may not be discouraged. Hereafter there 
will be a Spring competition and an Autumn competition. 
The Spring competition will be open to all. The Autumn 
competition will be open to all except winners of first prizes 
in previous Keramic Studio competitions. 
