ftERAMIC STUDIO 
SALAD SET, SECOND PRIZE— MARGARET OVERBECK 
to do the overplus must be neatly trimmed off. One of 
the molds is now turned over on to the clay tile and gent- 
ly lowered so that the sides are not dragged in entering, 
then the mold, bat and tile are turned over together, the 
bat removed and the blank tile lies snugly in the mold with 
its polished face beneath against the plaster. The tile 
must now be pounded and pressed firmly into the mold. 
Professional makers use a tool like a sand bag. It is a 
roll of sacking or cloth in form like a stocking. In the 
end there is a pad of wool or lint in the middle of which is 
a small bag of sand to give weight. This must be made 
of close grained goods so that the sand will not leak out. 
This weapon swung in the hand forms a very effective 
pounding tool and the clay is pressed close in to every 
angle of the mold. A wire modeling tool is now taken 
and three or four deep grooves are scored in the back of 
the tile and the surface is struck off, with a straight-edge, 
level with the mold. After drying for an hour or so a 
plaster bat is placed on the mold, the whole turned over 
again, the mold lifted off and the tile set to dry. 
The tiles thus produced will need watching. Even 
with all the grog one can use they are apt to warp and a 
flat board should be kept at hand with which they may 
be pressed down once or twice. As they become 
harder there will be less tendency to twist. The plaster 
bats upon which they lie should, of course, be perfectly true. 
On a large scale tiles are made by slapping pieces of 
clay into the mold but if the studio worker will make one 
tile by each method and compare the results no argument 
will be necessary as to the advantages of the plan de- 
scribed. It is a little more trouble but the tiles are all good 
and well finished at once, whereas by the piecemeal plan 
more time has to be spent on the tile after molding than 
would be spent as directed upon the clay beforehand. 
The tiles Jare burned just as vases would be but care 
must be taken to have them perfectly dry and to fire very 
slowly. Solid masses of clay need time to allow the heat 
to permeate. In the kiln they are best set on edge with a 
slight air space between. The tiles are thick enough to 
stand so and the bevel edge which was necessary in making 
the molds is not now needed so it can be scraped off or 
rubbed down. 
(To be continued) 
TREATMENT FOR VASE, SECOND PRIZE 
Mary Overbeck. 
C>ODY of vase, dull olive, light wash of Yellow 'Brown 
*-* with a touch of Pompadour on roses. Outlines and 
designs made of [same mixture with more red. Outlines 
and stems of rose should be lighter than balance of design. 
TREATMENT FOR SALAD SET, THIRD PRIZE 
Ophelia Foley. 
/^VUTLINE of rose, Pearl Grey, leaves and stems, Grey 
^J for Flesh. For second firing, Tinting oil and very little 
Yellow Brown over the whole, padding off nearly all of it 
from the flowers. Dust: Roses, \ part Ivory Glaze, 
f Albert Yellow; background, \ part Violet, \ Albert Yel- 
low, \ Pearl Grey. 
For third fire, Leaves and stems, \ part New Green, 
\ Grey for Flesh. Yellow Red on the small background 
spaces. 
STUDIO NOTE 
Mr. A. B. Cobden, Philadelphia, Pa., held his twentieth 
annual exhibition of the work of his pupils on May 17th to 
19th, at his studio, 13 South Sixteenth street. 
