8 4 
RERAMIC STUDIO 
Paint the oil over the surface with a tinting brush 
using it as thinly as possible. Then pounce with a dabber 
made of a piece of cotton covered with two thicknesses 
of old china silk. Pounce until it looks even and not in 
the least bubbly as these little bubbles cause the color to 
be spotty. The more oil is removed in this way the less 
color the oil will hold and the lighter the tint will be after 
firing. 
TINTING. 
If more than one color or shade is used, always begin 
at the lighest and work into the darkest. Do not work 
with a dabber that is too wet as it will give your work 
a muddy appearance. 
Dark or light mat colors tinted on and then painted 
over for the second fire with the mat color mixed with a 
painting medium gives an effect almost if not quite equal 
to that when the color is dusted on. 
MARIGOLD (Supplement) 
Laura Overly 
CIRST fire — For shadows in the flowers use Violet 
* mixed with Yellow Brown. Keep the high lights clear 
and crisp. 
Second fire — Use Primrose Yellow and Albert Yellow. 
In the third fire strengthen shadows with Warm Shadow, 
Yellow Brown and Violet mixed. 
Leaves — Yellow Green, Brown Green and Dark Green. 
The background can be painted with Violet and Yel- 
low Brown using Primrose and Albert for the last fire. 
And Miss Mary Krackowizer in her first year, — the one 
who is outlining kittens and balls upon a knitting-bag, — 
modeled that gargoyle with an extra si?ed mouth for the 
swallowing of an electric wire. 
The remaining work photographed was done by 
classmates of these girls in the first or second years of 
the course, all having entered without examination to 
learn what art is by designing and painting, drawing 
and composing in various materials and mediums. 
The triangular lantern is by Miss Mimi Kohlmann 
who received the second year scholarship 1906 for the 
usual round of water color, cutting stencils or blocks for 
stamping (as upon the sash curtain in the embroidery 
picture), cast drawing, charcoal compositions illustrating 
a story, studies of museum textiles, etc. She did not 
take embroidery this year but it is necessary to a third 
year certificate. 
All this time we have not introduced the teacher of 
art embroidery, Miss Mary Bacon Jones, who has received 
her art education in this school. She designed the poster 
behind her and has shown in other ways a fine sense of 
color and design in water colors as well as in clay. 
Our second picture shows the famous "Griffon" of 
Notre Dame adapted as a lantern by Miss Genevieve 
Wilgus who took the 1906 scholarship for the first year 
work. It looks extremely devilish when the candle 
flashes light over face and chest. This is a part of her 
product in the correllated course of manual training, 
"Design, Mechanical Drawing, Wood Carving, and Model- 
ing based on Historic Ornament." The girls spend a 
fifth of their twenty hours per week class time upon clay, 
but it is generally found too fascinating to drop there and 
much is done out of class hours; Miss Tilda Jellinghaus' 
swan vase was fashioned in that way from a suggestion 
in "the Studio". (111. 4.) 
We do not use the potter's wheel since our aim is 
not trade but education; our clay is fired at a fireproofing 
place since we cannot have a kiln at present. 
And now we turn back to justify ourselves for the 
reproduction of the first illustration. We are trying to 
enrich the life of the Nation by our contribution of the 
"all around" art girl who is cultured and can be of use 
and earn her salt whether at home or in a salaried posi- 
tion and who knows what art is because she has touched 
it on many sides. And whatever refinement and character 
she may gain in embroidery or otherwise will appear in 
her clay. Sophia A. Walker. 
Director of the Art School of the Y, II'. C. A. of New York City. 
Y. W. C. A. Art School, New York. No. 1. 
Y. W. C A. ART SCHOOL 
IF any question why a picture of girls embroidering 
* finds place in the Keramic Studio, a visit under 
the skylights of the Young Womens' Christian Associa- 
tion of New York City will answer the query effectually. 
In the meantime we explain that all these girls do good 
modeling and some of it is shown in the following illustra- 
tions. For instance the girl who is working a border in 
her own design of exquisite coloring on a black lace scarf, 
Miss Sylvia Williams, finished perhaps this very morning 
her pentagonal lantern shown in illustration No. 3. She 
is in the second year of the course and she has adapted 
here to clay her stenciled design handed in as a class exer- 
cise to the instuctor in that line, Miss Hellra M. Turner 
Y. W. C. A. Art School, New York. No. 2. 
