Vol. IV, No. 9 
NEW YORK AND SYRACUSE 
January 1903 
' F KERAMIC decorators would take advantage of 
every opportunity to see exhibitions of the differ- 
ent "Arts and Crafts " societies, there would be 
more of a feeling for decoration in their own line 
of work. This is really a study which will uncon- 
sciously influence the mind in the right direction, 
and make one intuitively recognize the right and 
the wrong in decoration. Take for instance the 
wonderful exhibit of old textiles and curios at the 
American Art Galleries; there is a wealth of har- 
mony in the subdued color schemes of the tapestries 
and embroideries. Inspiration is born in the study 
of the all-over designs in the brocades, and in the rich intricacy 
of the borders in the embroideries, especially in those found 
on the priests' vestments. 
Take an exhibition of iron or brass objects or wood carv- 
ing and note how the lines of decoration follow the form. 
Look at stain glass windows and the wonderful color scheme 
with the proper balancing of the dark and light spots. Look 
at the borders in the old Indian baskets, study their individ- 
uality. Study the antique and modern embossed leathers. 
In every instance get the motif of design, understand it and 
appreciate it. Study the old Etruscan forms in pottery, so as 
to reeognize the refinement of their lines, and note the style 
of decoration of our modern potters. 
Students in New York should visit besides the Museum 
and galleries, the Tiffany Studios on Fourth avenue, and also 
the exhibition rooms of Taft and Belknap on Fourteenth 
street, where there are a number of specimens from artist 
potters, and fine porcelains with modern decorations under 
the glaze. 
Note how the old factories are breaking away from their 
former style of decoration. Some have gone ahead of others 
as is natural, but there is a general reaching out for something 
different and better. Even in cut glass the designs and lines 
are more simple and refined. Study the designs of book 
covers and note the intelligent treatment of spaces. In every- 
thing find the fundamental lines of the construction and the 
design, the interpretation of which will add new beauty to 
life, broadening the artistic feeling for things outside of one 
special line of thought, and contributing to the joy of living. 
DAFFODILS (Supplement for August, J 902) 
Teana McLennon-Hinman 
THE colors, brushes and paper for use in painting a picture 
in opaque color were given in the description and treat- 
ment of the Chrysanthemum study in the July number of the 
Keramic Studto. 
The daffodils are done in the same manner with a few 
changes as to the color scheme. The paper is of a warmer 
grey and the treatment of the yellows a trifle different as is 
also the treatment of the greens. The yellows being of a 
very brilliant quality, and the greens following the law of pri- 
mary and secondary colors, are of a blueish tone, this is very 
often one of the things that goes unnoticed by those who do 
not understand color and has a tendency to take from the 
brilliancy of the flower. First make a careful drawing with 
charcoal (not a lead pencil), be careful to avoid the detail if 
possible, this study is so broad that detail is simply used in- 
stead of lines. 
An account of the exhibition and sale by the members of 
the New York Society of Keramic Arts will be given in out- 
next number, it being too late in the month for the present 
issue. The members were expecting great success at the time 
of our going to press. 
The scries of articles on hard fire porcelain and stonezvare, 
by Taxile Boat, of the Manufacture of Sevres, zvhich we had 
announced last mouth and hoped to begin publishing in this num- 
ber, will not appear before May, ipoj, as Mr. Doat prefers to 
complete the whole series rather than send articles -^separately. 
For the flowers use Indian yellow, safflower and burnt 
sienna in the deepest shadows, working out to Indian yellow. 
Then for the lighter parts and the outside petals use in the 
shadows Indian yellow and Payne's grey, and lemon yellow 
clear for the lights, this gives a brilliant glowing color 
to work the white into. For the very brightest yel- 
low use lemon yellow and Indian yellow without white, 
for the outside petals use lemon yellow and white in clean 
clear strokes, thinking always how to accomplish the most 
with the least work or one stroke. For the centers in the 
deep shades use safflower, burnt sienna and Indian yellow, and 
when this is thoroughly dry take a clean brush and clean 
