KERAMIC STUDIO 
19 
mous expressions of thanks and appreciation for one of the 
ablest critics that has visited the club. 
Denver, Colorado. 
Dear Mrs. Leonard : 
As the founder of this club, of course you are more or 
less interested in it, but as you have not been with us for 
some time, you do not know as much about us as in the past. 
I am going to tell you a little about our work and plans. 
This is the tenth year of the club's existence, and all along 
the membership has been very creditable. We are still limited 
to twenty-five active members. The club being small we are 
well acquainted with each other. We hold our meetings reg- 
ularly the first Monday in each month in the homes or studios 
of the members. During the past three years we have added 
an associate list. When one has been an active member for 
three years she may enter the associate list by so stating the 
fact at the annual meeting. Thus the associate members are 
all old members. They often attend the meetings, and in this 
way we keep their interest. Through all the ten years, with 
one exception, we have held an annual exhibition. These 
exhibitions are looked upon as one of the events of the year 
in Denver. The attendance is always large, and much interest 
is shown in the work. To show the public that we may have 
improved, we think, this year, being the tenth anniversary, we 
will have one table devoted to articles decorated ten years ago. 
Last year we sent a club exhibit of about seventy pieces to 
the Omaha exposition, and were liberally rewarded with 
medals and diplomas of honorable mention. Just now we are 
much interested in the National League and its annual exhi- 
bition. We .are also much pleased with the Round Robin 
letters. The exchange of ideas is an excellent plan. Although 
we are so far from the great cities, we are on the line of travel 
and often derive some benefit from some one who has seen or 
heard something which we have not. The club is in a flourish- 
ing condition, and we hope in the future to do more than in 
the past. Ida C. Failing, 
ALICE M. Parks, President Denver Pottery Club. 
Secretary and Treasurer. 
THE Miss Josephine M. Culbertson of Brooklyn 
oTTrnTO^ anc ' Miss Ida A. Johnson gave an art recep- 
tion at their studio April 5th. 
M. Francois Maene gave an exhibition in New York of 
pupils' work, both from Philadelphia and New York, which 
was particularly well received. 
Mrs. L. Vance Phillips announces that she will be assisted 
this year in her School of Keramic Art at Chautauqua by 
Marshall Fry, Jr., and Mrs. S. V. Gulp. 
Miss Anna Shaw, of the New York Society of Keramic 
Arts, gave a private view of her miniatures, at her studio, 
April nth. She will study in Paris during the summer, 
resuming her classes upon her return. 
Mrs. Mary Alley Neal and Miss Mary Taylor, both mem- 
bers of the New York Society of Keramic Arts, were repre- 
sented at the Academy of Design at the last exhibition of 
water colors. Miss Cuddy, of the Brooklyn Society of Min- 
eral Painters also had work hung at the Academy. 
An interesting letter from M. Louise McLaughlin was 
read before the Advisory Board of the National League of 
Mineral Painters, in which she related her success in making 
a new pottery, which we hope to see exhibited in New York. 
F 
She claims for it, fine texture, lightness and durability. If 
only a few more Keramists had her indomitable will and un- 
ceasing energy ! 
Mrs. Howard MacLean of the New York Society of 
Keramic Arts shows some interesting work done in Berlin 
under the famous masters, Herr Aulich, (brother of our distin- 
guished decorator in Chicago) and Herr Matthias, both of the 
Royal Berlin Factory. It was only by special favor that Mrs. 
MacLean received instructions, and she promises to give the 
Keramic Studio a paper on this subject. 
FOR BEGINNERS 
TO avoid confusion as to the make of colors you must use, 
we shall adopt the Lacroix colors as our standard in 
giving instructions, or in writing the treatments of designs 
when they are not given by the artists themselves. It is very 
confusing to a beginner to go to one teacher and then to 
another who uses an entirely different set of colors ( or the 
same colors with different names). Take any magazine con- 
taining keramic instructions and each writer uses a different 
make of colors. This may be clear to decorators of experi- 
ence, but most confusing to beginners. Therefore, to be fair 
to our advertisers and to make it more convenient and less 
confusing to students, we will publish a chart of colors with the 
Lacroix as the standard, opposite which will be the names of 
corresponding colors put up by other firms. We now have 
seven sets of colors, and the chart will not be closed until this 
first number is out, so that any other dealer or decorator may 
be included who advertises colors. This is the only way out 
of a difficulty that has confronted us. By this method we 
use a standard and give a key to other palettes, which will 
save the student from constantly purchasing new outfits. 
For the ordinary palette the following colors will be 
needed, which can be procured either in powder or tubes : 
Mixing yellow, silver yellow, orange yellow, yellow brown, deep 
red brown, carnation Nos. 1 and 2, Capusine red, violet of 
iron, brown green, moss green v, moss green j, apple green, 
green No. 7, emerald stone green, night green, beep blue 
green, brown No. 3, brown 108, brown 4 or 17, ultramarine 
blue, dark blue, ruby purple, light violet of gold, deep violet 
of gold, pearl grey and carmine No. 3. 
Mediums that will be necessary from time to time are : 
Dresden thick oil, balsam copaiba, oil of lavender, oil of cloves, 
English grounding oil and turpentine. 
The necessary brushes are : Square shaders Nos. 3, 8 and 
10, pointed shaders Nos. 3, 5 and 8, a No. o and No. 1 sable 
rigger for paste and enamel. 
A covered palette is preferable, as the colors remain 
fresher and cleaner; a steel palette knife and also a horn 
palette knife. 
[ Some of the colors not in the Lacroix list the editors have used to advan- 
tage and will always give readers the benefit of experiments and tests.— ED. 
"Terra cotta is simply baked clay; but much skill is 
necessary in its composition to ensure the right degree of 
hardness. The principal material is common potter's clay, 
with which a certain quantity of broken earthen ware is 
mixed ; these are kneaded together, moulded into form and 
fired in the kiln. Properly burnt, terra cotta is harder and 
more durable than stone." — [From " Hancock's Pottery and 
Porcelain."] 
