RERAMIC STUDIO 
carefully beforehand. The more the pupil is thrown upon 
his or her own resources the greater the individual benefit. 
It rests with the teacher of a large class to plan each step 
in such a way that there can be no serious mistake made 
that is not corrected at once. 
MINIMUM EXPENSE TO PUPIL. 
There should be a moral question with every teacher of 
the greatest good to the greatest number. The question of 
first expense keeps back many an otherwise interested pupil. 
The stock paint box with supply palette and nominal sum 
each week for use of teacher's paints would give more people 
an opportunity to find out not only whether they have 
ability along this line, but whether they have a strong 
enough desire to become proficient to carry them through 
the drudgery and discouragement of every day practice. 
Ability to do generally comes with intensity of desire; 
and if the pupil ' ' wants to hard enough," no effort will seem 
too great, and success will come. 
That the lessening of expense would encourage many more 
to take lessons, does not mean to cheapen yourself or your 
lessons: but what are they worth, and what do the pupils 
get? Is it not possible to proportion the expense in such 
way that it may be fair to teacher and pupil and reduce to 
the minimum the money question if the best of art is to be 
produced ? 
STOCK BOX AND SUPPLY PALETTE. 
This plan is particularly 
over a course of study and 
work : — 
i Silver Yellow 
i Yellow Red 
i Deep Red Brown 
4 Peach Blossom 
2 Pink No. 26 
2 Deep Blue Green 
1 Banding Blue 
2 Moss Green 
1 Brown Green 
2 Pearl Grey 
2 Grey Green 
1 Finishing Brown 
good when a class is to be taken 
the box may contain for general 
1 Yellow Brown 
1 Capucine Red 
1 Blood Red 
1 Roman Purple 
1 Ruby 
3 Light Violet of Gold 
4 Apple Green 
1 Royal Green 
1 Dark Shading Green 
4 Grey for Flesh 
1 Chocolate Brown 
1 each Black and flux 
LESSONS — HOW OFTEN. 
While some ground may be gained by weekly lessons, 
courses of daily lessons by week or month mean more in 
proportion to the pupil, in the long run, than less frequent 
instruction. The oftener the lessons, the more inspira- 
tion gained, the more "getting into the spirit" which is 
necessary to do one's best work; the fewer mistakes become 
bad habits; the less opportunity to lapse or forget. 
DUTIES OF CLASS. 
1 . At beginning of lesson put clean paper on table, clean 
glass, fresh turpentine, brushes and necessary silk, cotton 
cloth, china and selected study if not already provided by 
teacher. 
2. Work of grinding paint for supply palette divided 
among individual members. 
3. Selection, under direction from teacher, of paint needed 
for individual work ; the last one to cover the box. No pupil 
shall take all of any one color or colors without grinding 
more to keep supply palette intact. 
4. On finishing work, clean off all paint spots or dirt from 
china, clean palette or slab, returning all good clean color 
to its individual place on the supply palette; clean brushes, 
soften with oil, put in place, filter turpentine, put old paint 
rags in waste basket, return studies to drawer in good con- 
dition, fold or hang up apron, etc. Attention to these de- 
tails by pupils is more than money, and keeps the teacher's 
mind free to guide the more important steps of the day. 
teacher's supply. 
This should include palette knives, brushes, medium, small 
glasses, silk squares, lamb's wool, cotton cloth, tracing and 
transfer paper, wax, china pencils, plate divider, and designs 
suitable for copy or re-arrangement. It saves time to have 
an assistant to attend to this department. 
While pupils may use paint from supply palette for daily 
practice they should provide or possess the following: 
pupil's supply. 
1 Tile or Paint Slab. 
1 Palette Knife (or two). 
Set of Brushes, silk handkerchief, cotton, paint, rags and 
apron — all piled neatly together when day is finished. 
THE PUPIL WHO WISHES TO LEARN. 
While the presence of a pupil presupposes confidence in 
the teacher, do not be afraid of telling too much when you 
explain the reason for each step in the course of instruction. 
Some will accept blindly, others must have reasons, all work 
more intelligently and with greater confidence in the result 
if they know the reason for each step. Let us hope the 
teacher knows! Do not spare yourself in explanation. 
Do not expect success as a teacher if you are not willing, 
yes glad, to give yourself for the benefit of pupils who are 
eager to learn. 
FLAT CHINA OR OTHERWISE. 
Any shape in china can be successfully managed by a 
beginner with proper and sufficient attention from the 
teacher, and with probable extra firings; but a beginner 
may learn with more ease and rapidity to do more things 
in a given time if flat china such as plates, placques or tiles 
are used. Some teachers will not allow a pupil to go on 
until at least two plates or tiles have been done well. 
THE STYLE OF WORK TO ATTEMPT. 
' ' Notan," or the pleasing arrangement of light and dark 
masses should be taught from the first, and no daintier illus- 
tration of this could be made than a border for small plate 
or bowl, done in two or three shades of green, given by Mrs. 
Sara Wood Safford in July number of Keramic Studio. 
PLATE DESIGN ILLUSTRATED. 
The plate design by L. Knotts, of Mr. Fry's New York 
class and illustrated in Keramic Studio, July 1904, affords 
a bolder design suitable for a breakfast plate and was done 
by a beginner, thus: 
First Step — Use of plate divider learned, and plate divided 
into eight parts with china pencil, lines extended over the 
edge and on to the face of the plate. For breakfast plate, 
make extreme inside limit of design little more than two- 
thirds from the outside edge; line drawn with china pencil. 
Second step — A section of paper was then cut exact size of 
one-eighth of this narrow band . This paper was folded in the 
middle exactly and a tiny strip cut from both ends alike. 
Then the design was drawn by eye as it appears in cut and 
to fit the paper pattern, with careful attention to propor- 
tion. Where lines did not appear true, it was done over 
and refined by placing tracing paper on top and with ink 
and fine pen correcting the mistakes. This the Japanese 
call refinement of design. When perfect, the center of the 
tracing paper which was cut an inch larger all round than 
the pattern, was fastened on side and end with wax, putting 
