Vol. XIV. No. 2 
SYRACUSE, NEW YORK 
June i9l2 
UNE, the month of roses, is the 
month of opportunity for the painter 
and designer. Then comes the great 
burst of bloom, while yet the grass 
and trees and distant landscape re- 
tain the freshness of spring, and 
the soul, like a butterfly from its 
cocoon, brealcs the chains of winter's 
dull routine and, tasting once more 
the delightful flavor of freedom, seeks 
new worlds to conquer. To the teacher especially the sum- 
mer vacation brings not only a needed change and rest to the 
spirit, but also leisure to replenish the stores of material 
from which will be drawn the inspiration of another sea- 
son's work. 
In last issue we asked for information about the summer 
schools of china painting with a view to publishing the dates 
of opening and closing of these schools in our June issue. We 
have had the following answers, which probably do not cover 
the whole gi'ound but will be of some benefit to those of our 
readers who intend to spend their summer studying, perhaps 
part of the time in one school, part in another: 
Open all summer — Art Institute, Chicago. Instructor, 
Abbie P. Walker. Classes twice weekly. 
July 6 to Aug-ust 1 16— Chautauqua, N. Y. Instructor, 
Mrs. L. Vance Phillips. 
June 1st to July 31st — Mrs. Dorothea Warren O'Hara, 
132 East 19th Street, New York City. 
June 17th to July 27th— Four Winds Pottery School, 
Syracuse, -N. Y., under the management of Mrs. 
Robineau, editor Keramie Studio. Instructors — 
Dawson Watson, Kathryn E. Cherry, Jessie M. Bard, 
Bei-tha Riblet. 
July 1st to August 16th — Winona School of Arts, Winona, 
Lake, Ind. Instructors — Rhoda E. Selleck, Homer 
Gordon Davison, Edna Shover, Marie H. Stewart. 
July 1st to September 1st — Mrs. W. P. Garrett's Summer 
School (fifth season) Thousand Island Park, N. Y. 
August 5th to September 14th — Dawson Watson Summer 
School of Painting and Handicraft, Brandsville, Howell 
Co., Missouri. (Address: Dawson Watson, St. Louis 
School of Fine Arts, St. Louis.) Instructors — Dawson 
Watson, Kathryn E. Cherry, Jessie M. Bard. 
We regret to hear that Mr. Marshal Fry will not have his 
summer school this year, as he wishes to devote his whole time 
to painting. 
There seems to be among amateur designers a difficulty 
in gi-asping the principles of conventionalization. Lately 
there have come to the editor's table quite a few designs, hav- 
ing certain merits of originality or arrangement, which have 
been quite unavailable for the simple reason that the natural 
form modelled as in nature has been twisted and contorted to 
make a balanced and repeated design. Now, it is possible to 
repeat a natural form so as to give a pleasing efl'ect, but it must 
remain naturalistic in drawing as well as modelling and color. 
If the form is to be conventionalized, especially in a balanced 
design, where the two sides are the same, but reversed, the 
drawing of the form must be simplified, there must be absolutely 
no modelling, and the color may be changed at will. There is 
something very unpleasant in an abnormal naturalistic form; a 
freak flower with two stems, so that there may be a line going 
in opposite direction, is quite as shocking to look upon as a 
two-headed calf. When the natural outline of a flower or other 
object is used in conjunction with lines or geometric forms, the 
color witliin the outlines must be flat, but if it is desired to give 
a sketchy efi:ect of little flowers in connection with lines, they 
should be enclosed as in a frame with lines but the flowers 
themselves must not be outlined. These two points will per- 
haps be of some assistance to our future contributors. 
Another point which we would like to make with our 
designers is that wash designs, made upon Japanese paper or 
other paper with water marks, do not reproduce well; they are 
spotty and streaky in reproduction; and those done upon a 
tinted paper are sure to be too dark in tone. These variations 
of tone and texture make interesting class work, but for repro- 
duction there is but one rule that makes a perfect replica of a 
design and that is, to make your design in black, white and 
gi-eys on a perfectly smooth, white paper. 
Will some of our designers try this summer to work out 
conventionalizations of birds and animals, etc., for special 
sets, such as game, flsh, rarebit; also fruit and nuts. We will 
have a Christmas competition this year and we will offer prizes 
as follows, each design to be fitted to a ceramic shape, 
designs not receiving a prize to be considered for purchase: 
For the best conventionalized animal design $5.00. 
For the best conventionalized fish design $5.00. 
For the best conventionalized bird design $5.00. 
For the best conventionalized fruit design $5.00. 
For the best conventionalized nut design $5.00. 
Those studying design in the summer schools can have 
their teachers arrange problems for them on these subjects 
and get the benefit of expert criticism on their designs before 
submitting them, thus killing two birds with one stone. The 
competition will be open only until October 15th, in order that 
some of the prize designs may be published in the Christmas 
issue. Designs must be submitted in black and white wash on 
smooth paper, drawing the entire ceramic form, each design 
to be accompanied by a section of the design done in color. 
Another competition which will close November 15th, in 
time for the New Year's issue, is as follows, each design to be 
executed in one fire: 
$10.00 each for the best design for a dinner set, for the 
best design for a breakfast set, for the best design for a lunch set. 
(Continued on page 46) 
