76 
RERAMIC STUDIO 
Regarding the educational portion of the exhibit, altliough 
the contributions are not as generous, yet what is shown is ex- 
tremely good. Each class is well represented by thoughtful 
work in its special line. The "Outlines for a pitcher" show 
some which are graceful and practical, in that they would " pour 
well " — this is the first question a manufacturer asks in regard 
to a proposed shape and it is as well to make a sensible demand 
of the kind at the outset. The handles too, are a point which 
has needed much attention in order to make them less ornate 
and at the same time give a good " grasp. " 
The candlestick problem received consideralale attention, 
and for a first attempt in the line of clay work, some very praise- 
worthy efforts are shown. In point of form, these are extreme- 
ly interesting aside from anj^ further attractiveness added by 
glaze. In fact those which have no glaze at all, but were fired 
to a mellow red or yellow are very effective, not only as ex- 
amples of ceramics but even more as results of a study of form 
One cannot help having more feeling and understanding of 
form, after having built up the shape with clay. It forces one 
back to foundation principles with most beneficial results. 
The designs for tiles are so varied that the\' can not fail 
to attract attention and ma3' seem even startling, especially 
in places where the technical processes are little known. They 
give excellent opportunity for practice of precepts in modern 
teaching of design. Possibly some of our decorators who have 
not yet " arrived " will view them with disdain and think their 
reproduction not worth while — ^but let them see them a second 
time and a third, if necessary, they will happil3^ discover their 
reason for being. It will be seen that most of them illustrate a 
point or principle in design, such as opposition or subordina- 
tion. Looked upon from this point of view, and not mereh^ 
from a standpoint of prettiness, thej^ will bear much study which 
will show fruit later on. Then too, all of these classes in the 
educational branch indicate the process of procedure, and show 
the manner in which such designs are carried out so as to be 
acceptable to the manufacturer. In other words they show the 
amateur "how it is done," and the proper manner in which to 
express latent ideas. 
The olaject of such a line of work was the pursuit of a study 
course, not alone to make things, but far more important to 
broaden one's conceptions and raise the understanding and 
appreciation of whatever is really good. 
SWAMP DOGWOOD DESIGN— CORA STRATTON 
SWAMP Dogwood is a white flower. After getting a correct 
drawing lay in the background with Copenhagen Blue, 
Baby blue shading into Carnation and Primrose Yellow. Leaves 
are a light green, use Yellow Green, Brown and Shading 
Green. Shade the flowers with a gray made by mixing Baby 
Blue and Carnation. 
For centers use Yellow Brown and Yellow as in wild 
roses. 
