Vol. XIV. No. 3 
SYRACUSE, NEW YORK 
Jtily I9I2 
UR readers will be interested to see 
this month work from the Duquesne 
Club, the Pittsburg Class of Miss 
Maud Mason. The designs as a rule 
are bolder than those of the average 
worker, and strength and fine color 
seem to be the distinguishing char- 
acteristics of the work of Miss 
Mason's classes. It will be inter- 
esting as well as instructive to com- 
pare the class work of the various teachers and clubs as shown 
in the different issues of Keramic Studio. They will each show 
individuality. We have already given this year the work of 
the students of Mrs. Kathryn Cherry and the St. Louis Art 
School and of the Kokomo Club; we will follow this showing 
of Miss Mason's class with the work from the Chicago Art 
Institute and that with the exhibit of our old friends, the 
Newark Club. Still later we will give the work of the summer 
school at Four Winds Pottery, the editor's home work shop. 
At the moment of going to press, the school is in full swing 
and is fairly well attended. We look for fine results not 
only in the work but in jolly good times, for the hill-top where 
the pottery is perched is in the midst of a truly "picnic" 
country and we are all that kind of people. 
We would again call attention to the necessity of marking 
designs plainly with name as well as address, and if possible, 
the color treatment. A great deal of trouble would be avoided 
both for the editor and designer. We have again to correct a 
mistake, the plate designs in the May issue, page 8, credited to 
Mrs. Evelyn Beachey, being the work of Miss Hallie Day. 
Readers of Keramic Studio will be interested to know 
that the editor's exhibit of porcelains at the Musee des Arts 
Decoratifs, at the Louvre, has been followed by an exhibit of 
fourteen pieces in the Paris Salon, which remains open until 
July 1st. 
-i- 
Do not forget our fall competitions in the midst of your 
summer outing, and especially keep in mind the problem 
anent executing the lunch and breakfast sets in one fire. Many 
charming effects can be obtained in one fire and the saving in 
work, time and expense is worth considering, expecially for 
the beginner. It is not necessary to confine oneself to one 
color or gold to get an effect in one fire; if the work is carefully 
thought out and executed one can use several colors, even with 
the "envelope" efl'ect. The latter can be done by first tinting 
the piece and drying hard in the oven; then by using a square 
shader, spots and bands of other colors can be lightly applied 
over the tint, and even gold, if the tint is light. But the 
daintiest efl'ects can be gotten on a white china backgi'ound, in 
which case the choice of color is unlimited except by taste. 
•I" 
Miss Emily F. Peacock, formerly crafts editor of Palette 
and Bench and the well-known maker of fine jewelry, is again 
in New York after havmg remained in Europe one year, most 
of the time in Italy. 
THE DECORATION OF POTTERY IN THE CLAY STATE 
PATE-SUR-PATE (Concluded) 
F. A. Rhead 
The Material — (Concluded) 
ni^HE stains for the ground color, and for accessory orna- 
A mentation, are of course obtained from metallic oxides. 
The following mixtures give the tones most in use. They should 
be weighed dry, the oxides thoroughly ground in water after 
weighing, the paste added after, and thoroughly incorporated 
by further grinding. 
Mazarine Blue 
Black Oxide of Cobalt 1 part 
White Paste (as described) 16 parts 
This can be graduated through an infinite variety of tones 
of blue, down to a pale lilac, by the admixture of more paste. 
Bright Blue 
Calcined Alum 2 parts 
Oxide of Zinc 1 part 
Carbonate of Cobalt 1 part 
White Paste 75 parts 
This bright blue will be more successful if the ingredients 
are calcined and ground before they are added to the white 
paste. 
Chrome Green 
Oxide of Chrome 1 part 
White Paste 10 parts 
Veronese Green 
Oxide of Chrome 2 parts 
Oxide of Cobalt 1 part 
White Paste 45 parts 
This green gives beautiful variants by doubling and trebling 
the quantity of white paste. 
A turquoise like color is obtained by mixing four parts of 
the bright blue stain to one part of Oxide of Chrome, and using 
ten per cent, of this mixed stain. The dark yellows are ob- 
tained from iron, and the light yellows from Acetate of Titanium, 
five to ten per cent, of the oxides being needed according to 
the tints I'equired. Light browns are got by a large percentage 
of the iron oxides, and dark browns from Chromate of Iron well 
ground. If a black is wanted, about six parts of Chromate of 
Iron to one of Oxide of Cobalt will supply the stain, which will 
have to be added to the paste in the proportion of one to eight. 
Uranium, if fired in a closed oven without a free current of air, 
gives a pleasant mauve, but it is treacherous, as it is not pos- 
sible to admit or exclude air at will under ordinary conditions. 
If the air is freely admitted the uranium gives a bright yellow. 
The best way to utilize this wayward, but fascinating oxide is, 
to calcine it first with a small admixture of paste and fix either 
tint for future use. If a yellow is desired, three parts of uran- 
ium may be mixed with two parts of white paste, and put on an 
uncovered biscuit plate at the top of a biscuit oven. It should 
then be ground, and used for stain, and it will be found to retain 
its tint. For lilac the same mixture should be placed in a 
closed sagger, which should be luted with strips of clay until 
air tight. When ground, this stain will also preserve its tint. 
French stone is a material naturally colored by iron to a 
bright red tint. This, mixed with the paste, in proportion 
