ftERAMIC STUDIO 
i43 
sand, fine gravel and stones that have passed through the CTUDIO 
sieve. If there appears to be much clay with the sand a third 
washing may be resorted to, if not, the sediment is thrown 
away. There will also be found some sediment at the bottom 
of the other vessels but unless this be very coarse it may be 
left to form a part of the clay. Here is where the plasticity 
and porosity of the clay are adjusted. If too plastic more of 
the sandy sediment shall be included, if too porous a third 
and fourth washing will remove the sand. 
The slip is now left to stand over night and in the morn- 
ing the clear water is poured away. The clay may now be 
gradually thickened by evaporation, stirring from time to 
time, or the operation may be hastened by the use of plaster 
slabs, called "bats" to absorb the water. pro be continued.] 
NOTES 
Mrs. Mary Alley Neal has taken a studio 
and class room at 152 West 23rd street, New 
York. 
Miss Cora Wright has a new studio at 19 West 24th St., 
New York. In addition to her porcelain work she is doing 
some fine book cover designs. 
Miss Overly has a very attractive new studio at 28 East 
23rd St., New York, where she is teaching pyrography and 
leather decoration in connection with her regular work. 
Mrs. Anna B. Leonard has a class in pottery making at 
her studio, as well as classes in design under Mr. George 
Williams' instructions. 
ROSE DESIGNS— SARA WOOD SAFFORD 
PAINT in color very thinly, clearly, crisply, for the first firing 
Use a very thin wash of yellow in light part of rose and 
carnation in the warmer tones. 
Make a grey of violet and yellow for cool grey shadows 
and violet with carnation for deeper, warmer shadows. 
In the second painting, wash rose over carnation and softly 
blend over the yellow. Paint the red roses with ruby. 
For a yellow rose use lemon and Albert yellows, with 
yellow brown in the "breast" of the flower. The greys for 
the yellow rose may be made of violet and yellow, or neutral 
yellow may be used very pleasingly. Apple green, yellow 
green, brown green, blue green and dark green are used in 
the leaves. 
A touch of carnation or brown pink may be used with 
greens to give warm, tawny color for foliage. 
Violet, with light greens, will give the soft grey green effect. 
Yellow and yellow brown are happy sunny colors for back- 
ground, and violet and blue green may be used for colder tones. 
Try and keep colors soft, clear and tender throughout 
each painting. 
