I04 
RERAMIC STUDIO 
ROOKWOOD ARCHITECTURAL FAIENCE— (Page 110.) 
THE CLASS ROOM 
All subscribers wishin^^ to follow the course of lessons on design by Mr. 
Froehlich, may submit their best three solutions of each problem to this de- 
partment. They will be criticised in the magazine so as to afford the mutual 
help of class room criticism. The work of one lesson will be criticised in the 
following number of Keramic Studio. We can not return worij sent for 
criticism. 
After working out solutions and marking them from 1 to 6 in order of 
merit not of making, select the best three of each problem and make copies, 
using brush and India Ink, studying to make a good firm line — also draw in 
India ink all other parts of the lesson to be submitted to Keramic Studio 
for criticism. Sign everything with initials but .slip must be enclosed with 
name and address in envelope. Work must reach Keramic Studio before 
8th of month or no criticism will be given. 
The Class Room criticisms will be made by the Editor on lines laid down 
l)y Mr. Froehlich. 
o o o 
The contributions to this department are so numerous that we will have 
to confine our criticisms to the best work illustrated. The designs not given 
are either uninteresting in treatment, not well considered in regard to propor- 
tions of black and white, weak in drawing or color, not properly conven- 
tionalized or not simple enough. 
M. M. — Tile design with naturalistic motif would be very good if the 
lower part of the flower were bolder, the two lower petals, for instance, might 
be wider, occupying the corners of the tile. The Byzantine tile is good but 
center design might \\&\e been stronger. The abstract border for cup is 
good also. 
E. V. M. — Horse chestnut design for tile would be better if larger, the 
sides of tile cutting the points of some of tlie leaves—the idea is good. The 
cup and saucer design with straight line motif is good — a stionger line on 
lower edge of border would improve it, also an added line a .short distance 
below. 
75, —The tile design of Gladiola is fine in every way, the tliree dots above 
stamens might be omitted. The Medieval tile is also good. The cup border 
is good in dark and light, the handle of cup is not a good shape. 
H. B.— The Arabian tile design is good but might be richer in dark and 
light. The vase design is extremely well considered. 
A. W. — Tile design would be very good if the line were wider. The cup 
design has the same fault, it is weak in color, it is also not so good in invention 
as the tile. 
L'l. P. H. — Cup de.sign is refined but a little weak — do your work for re- 
production in strong black and white. 
P. A. R. — Both tile and cup and saucer borders are good in every way. 
The vase design would be better applied to a larger vase. 
S. L. M. — Corn design for tile has good balance of dark and light, it would 
be better if the husks were simpler, larger and fewer in number — also, the 
husks should go straight to base of tile as they give the effect of a stunted 
ear of corn by their direction toward the center of base. The Trillium border 
is good, it might perhaps be better if the two dots were omitted, or the design 
more widely spaced. 
Troblem Hr. 
