I1ERAMIC STUDIO 
used in design by the Greeks, Chinese, Egyptians, etc., may 
be found in the first two years of the Keramic Studio. It 
is not to be understood that these designs are to be used for 
copies, but that a proper understanding of them must be 
secured " as a foundation upon which to build an individual 
style." 
Next, the articles by Mrs. Adelaide Alsop-Robineau on 
Modern Design, Pond Lilies, to be found in the October 1900 
number of Keramic Studio, Tulips, July 1901, Trillium, 
September 1904, Poppy, October 1901, and Mr. Hugo 
Froehlich's recent articles on Principles of Design, where 
the principles of decorative lines, color, spacing, etc., are 
given, should receive the pupil's attention. 
Note that in all these examples as much attention is given 
to the spaces as to the designs themselves. 
A careful study of these and similar articles, proving each 
theory by a practical demonstration, and also a little pains- 
taking study of plants and flowers, will do more for the ad- 
vancement of the student than the copying of many pub- 
lished designs. The pupil must study natural forms and 
learn to see well, before he can draw or use color well. 
While all will concede that a sketch book full of drawings 
made directly from nature is to be preferred above any book 
of instruction, only those who have faithfully worked out 
the problems presented in the above mentioned articles, can 
in the least degree appreciate their inestimable value to the 
student. 
MATERIALS. 
The beginner frequently needs a word of caution concern- 
ing the position assumed during work, as in the anxiety to 
do creditably the pupil is liable to bend over the piece too 
closely. This not only prevents the worker getting an idea 
of the design as a whole, and results in a failure to secure 
any idea of relative values, but will in time surely weaken 
the eyes. A north or east light coming from the left is most 
desirable, and sunlight should never be allowed to fall 
directly on the work. 
With chair standing firm, let the table be arranged in 
front of the pupil in the most get-at-able way possible, with 
the following materials, having the piece to be decorated 
directly in front of the worker. A bottle of Higgins' India 
ink, a crow-quill or other pen, plate divider, color outfit, a 
sheet of tracing and one of drawing paper, turpentine, old 
muslin, a hard and a soft pencil. A pair of dividers with 
reversible point, for either pencil or pen, is also desirable. 
These, together with the necessary stock of patience, 
should soon result in creditable work. 
CHOICE OF SUBJECT. 
In the selection of a subject, the beginner will naturally 
be influenced to choose one that will appeal to him; and this 
is wise, as the learner will naturally be drawn toward that 
which is attractive to him and take an additional interest 
in its execution. But it will not be found advisable to at- 
tempt the most difficult thing at first, not only because of 
the difficulty of the manipulation of that ofttimes unruly 
member when in the hands of a novice, the brush, but on 
account of lack of knowledge of the colors. Practice in the 
handling of the brush can not be dreamed out. The color- 
ing of broad surfaces and borders for practice is helpful and 
should not be considered a waste of time. 
If the pupil knows something of drawing and is not too 
timid, the teacher can at the outset have him make his own 
designs subject to the rules and conditions of the articles 
suggested for preliminary study. If otherwise, some clear 
subject, such as Miss French's lotus design, September 1903, 
may be chosen. As a matter of education, it will be well 
for the worker to select his own color scheme. 
Secure a good, clean drawing at the outset. It is an easy 
matter to copy a design which is to be repeated exactly, or 
nearly so. If exact, take a thin piece of paper, place over 
the design to be copied, and with a soft lead pencil trace off 
a single repeat. If the design has to be changed to fill in 
the allotted space, make one-half of the repeat perfectly on 
drawing paper, draw on the thin paper, fold this and trace 
the other half. This of course applies when the halves are 
exactly reversed. A simple repeat design may be made 
shorter or taller as desired, by deciding on the width of bor- 
der, making it narrow or wide, then dividing it into as many 
perpendicular sections as the times it is necessary for the 
design to be repeated. The design must then be broad- 
ened or shortened where the sections meet. 
The beginner should only choose such designs as are easy 
of adaptation, not attempting the more difficult ones until 
fairly expert. 
When the design is satisfactorily drawn, rub a little oil of 
turpentine over the china to be decorated, and dry by arti- 
ficial heat. The hardened oil, though invisible, affords a 
sort of roughness to the piece which will hold pencil marks. 
The plate divider is a sheet of paper with circles marked 
accurately into halves, sixths, fourteenths, etc. Place the 
plate face downward on this, and with a pencil mark on the 
rim whatever divisions are desired, allowing a section for 
each repeat. Turn the plate over and continue these marks 
so they are visible on the face. It is necessary that this be 
carefully done, as these are the points from which lines are 
to be drawn toward the center, and which arc to divide the 
plate into sections. Put the side of the drawing where the 
pencil marks are next to the china, in one of these sections, 
and retrace the lines carefully with a hard pencil, steel 
tracer or sharpened stick. This will leave a faint outline 
on the ware, which may be traced over with a pen and 
India ink in order to prevent its becoming rubbed. The 
same tracing is to be used for the several sections, for if the 
lines grow too dim they may be marked over again with the 
soft pencil and be as good as new. Carbon paper which has 
been softly rubbed over with a bit of cloth to remove super- 
fluous color, may be used, but the method just described 
will be found much neater. To adapt straight borders to 
circles, follow the directions in the illustrated article in the 
Keramic Studio for July 1901. Nothing could be more 
concise or more easily understood. Occasionally it becomes 
necessary to draw a perfect Circle inside the rim of plaque 
or plate. It seldom happens that the edges of these are 
absolutely true circles, so the following suggestion may be 
helpful if one does not possess one of the gauges that locates 
centers. With the aid of the plate divider mark some sec- 
tions on the rim. Use a ruler and draw lines from these 
clear across the plate, noting that where these meet is the 
center. Using this point as center, draw desired circle with 
compass and pen. 
outlining. 
It is important that outlining in conventional work be 
done with a steady, smooth movement, free as possible from 
wavering strokes, firm in quality throughout its length. 
Nearly all designs are improved by using outlines, some- 
times of gold, and again of color, so the beginner will spend 
much time in practicing this very necessary part of the work. 
