KERAMC STUDIO 
8* 
and the absence of influences which of late made popular many 
forms of decoration, and which unquestionably had no vitality 
or intention, other than a mere imitation of a type which the 
public declared fashionable, we become impressed with the 
thought that we are in the middle of a transition period which 
will eventually lead us to a higher and better order of things 
artistic. 
There are in our ranks many earnest students who are 
striving for a standard of sound art in decoration, and it is 
from the results of their efforts that we gather our strongest 
evidence of progress. 
These annual exhibitions have proved most helpful in 
the formation of a sound taste League of Mineral Painters, 
and in the formation of intelligent public opinion. 
Each succeeding exhibition draws to itself additional 
public interest and our faith in the foundation principles of 
the League grows stronger. Realizing all this shall we not 
guard well its fair name and endeavor to express in our work 
the beauty and nobility which America's public demands 
of us. 
J> J. 
PERRYISMS 
WE give a few extracts from a personal letter of Mary 
Chase Perry of Detroit, written after the National 
League exhibition. We think they will prove interesting 
reading. 
"About the exhibition: As a whole, it was decidedly the 
best showing we have yet had, and the most even, in that th e 
two of three best known workers did not carry off the palm as 
sweepingly as usual, there was so much nearly approaching 
their work both in conception and execution. * * "* It is 
an extremely good thing to say of any one's work, that it is 
characteristic and different, in this day when people are so 
wary about showing themselves and gloss over what might be 
a natural expression by veneering it so as to fall in with the 
popular or accepted theory. If every one who pretends to 
show something for himself would shut himself up and work 
out of his own think-tank for awhile, there might be some in- 
teresting results, and there might be nightmare afterward too. 
But the sense of the exhibit as a whole gave a feeling that 
, many of the workers had been squinting out of one eye all the 
time they were working for the exhibition, to find out how it 
was going to "take," and varying it accordingly, yet the ex- 
hibition was good and a great improvement. The meetings 
were of interest in that they pulled people together whether 
they wanted to be pulled or not, and some of the things on the 
program were worth hearing, that is, the simple things, the 
more ambitious promises which looked so well on the printed 
program failed to materialize. * * * I have been much 
interested in the work of the Atlan Club, they show much 
real strength and much of the right kind of advancement. 
Mrs Koehler, their leader and teacher is a charming woman, 
and deserves much credit for what she has pulled out of her 
research and the way she has applied it. I believe every dec- 
orator should have just the "course of sprouts" she advocates 
from an educational standpoint. The danger is that the short 
sighted may mistake the study for the end itself instead of the 
means to a more desirable end. An expression from within 
one's self, from within one's own brain, to me that is the only 
desirable ultimate. For example take Chinese ornament. I 
contend that until your design loses its Chinese individuality, 
it does not become a part of you, unless you want to be a 
Chinaman. But all the study and understanding should lead 
up to something, to the time when the student can be free to 
show himself. The different arts and crafts societies are 
" keeping their trolleys" better than most keramic decorators. 
Any number of the Inter national Studio will show that. But 
there are the Rookwood, the Copenhagen and some other re" 
cent pieces which appeal to this uncivilized barbarian. * * 
I had a stunning Samovar given to me the other day and it is 
delighting my heart, just fine in outline and workmanship. 
Have also added to my candlesticks, and have one of those 
jolly little old Dutch bowls with the little uncompromising 
figure and straight up shrubs in the center, one of the genuine 
old rooster plates too. Wish you could see my little ranch." 
FOR BEGINNERS. 
FIRST of all choose a piece of china for its simplicity of line 
and its texture. Avoid as much as possible the embossed 
surfaces, which make one more or less a slave to the raised de- 
sign given, when otherwise one is at liberty to decorate as one 
sees fit. Fortunately all the potteries are sending out more 
artistic shapes, with less ornamentation than formerly. Try 
to select a perfect piece, which will prevent the necessity of 
returning it to the store, with perhaps some unpleasant re- 
marks. 
Then plan an appropriate design, which, of course must 
conform to the shape. Do not try to use a plant foim or 
growth, that requires heighth to give character, to a low 
squatty jar. Above all things do not overcrowd the design, 
keep the lines simple, but make them characteristic as well as 
decorative, as applied to that special piece of china. The 
Rookwood pottery is a fine illustration of this principle, and 
it would be well to study it and get the correct impression. 
It is better to draw the design first, or to indicate the 
strongest points of decoration, — this will preserve a better 
balancing of color and space, for if one paints a flower directly, 
one's brush is apt to run away and the design becomes more 
suitable for a picture than for a decoration. There is a vast 
difference between pictorial art and decorative art. 
If you are painting a dozen plates, or a dozen anything, 
finish them all together. Do all the tinting, then all the paste 
work, and finally the gilding and enameling, treating the en- 
tire dozen as one piece. This plan of work saves time and is 
not irksome, as finishing one plate entirely, before commencing 
another. 
Use always rectified spirits of turpentine for pastes and 
enamels, which can be procured at the art stores or at the 
apothecaries. Oily turpentine is often very troublesome with 
paste, although quite satisfactory with the colors. 
Practice the brush strokes, and try to use as few as possi- 
ble in making the petals of a flower. The hawthorn blossom 
is simple and good for this practice, and when these broad 
quick strokes are made, which form the petals and shade them 
at the same time, there will be in your work a transparency 
and crispness, which can never be obtained by working the 
color in little useless strokes, — which gives the appearance 
of wool. 
Beware of the wolf with a worthless check who offers the 
same in payment of a " wedding present for his sister," ex- 
pects, and sometimes gets, the change. A swindler has been 
the rounds of the studios! He cares not for decorated china ; 
articles of virtu are unappreciated by him. He yearns only 
for the change from his check. Don't give it to him ! 
