242 
KERAMIC STUDIO 
colors, whether contrasting or harmonizing, in theory, 
will in reality fight if used in such quantities as to make 
them complete for first place. It is possible, certainly, 
to use rich pure color with fine effect, but another equally 
strong color must not be opposed to it either in point of 
quantity or strength of tone. Safety lies in the greyed 
tones with sometimes a bit of rich brilliant color. 
And let us enter a plea for better shapes. Oh! that 
we could be our own potters! What china painter has 
not felt a thrill of joy upon discovering a bowl of really 
fine contour, such as one cannot find in the catalogs, but 
which can only be picked up here and there on rare oc- 
casions. A good milk pitcher is almost as rare. One that 
will pour in a genteel fashion, will stand firmly, is of a 
shape easily cleaned, and has a handle not for ornament 
but by which the weight of the filled pitcher may be held 
with the least possible strain to the hand. When all this 
is accomplished in the best way it is safe to say that it will 
be a thing of beauty. 
The difference is wide between real art and the desire, 
devoid apparently of any aim except to "decorate" and 
gold. The designs have the same general arrangement 
with different motifs in each case. This plan admits of 
variety and yet the effect is somewhat uniform, which is 
very desirable. 
A scheme of violet tones, dull blue violet for the 
largest spaces, with a tone a little purer and a little less 
blue, with a gold background, in a design that is not too 
open, would be pleasing for a dainty tea service. 
Flat enamels applied over both the background as 
well as the design, leaving all about the forms a narrow 
band of white china as an outline, gives a charming effect 
for a piece that admits of a very elaborate treatment. 
A vase might have an allover design done in this way, 
with a band of design to give added interest. With a 
careful selection of colors the effect could be made very 
rich. 
Shades of brown with dull red, gray blues with purer 
greens, and the reverse, dull orange with gray of a more 
or less violet quality, rose and warm gray, and a dozen 
more color schemes might be named, all of which might 
have numberless variations. 
BORDER— TREE DESIGN 
make "pretty" regardless of use. We can learn from the 
primitive man who in his need of some article of use, 
creates not only the thing of use but at the same time a 
thing that is a joy to the eye. 
Let us think about quality and not quantity, and be 
satisfied with nothing that is not sanctioned by our own 
best judgemnt. Then keramic decoration will have 
reached the high place that is its right. 
Margaret Overbeck 
De Pauw University, Greencastle, Ind. 
A FEW SUGGESTIONS 
TO those beginners who have not acquired the skill to 
make their own designs and who must copy, the 
best advice one can give is to draw freehand from the 
start. The experience of at least one teacher is that if a 
pupil cannot draw with a pencil she cannot draw with a 
brush, and since one must draw with every stroke of the 
brush in painting, is it not better to have had that intimate 
acquaintance with the forms in the design that only a 
free hand application can give? It is, however, to be de- 
plored that such advice is necessary, since success in any 
line comes only with proper preparation. 
A very pretty and interesting set of tea cups has the 
same color scheme used throughout — dull gray green back- 
ground, clear warm green for design and narrow connect- 
ing band. In this band there are at intervals small oval 
medallions of ruby purple, and the whole is outlined in 
T 
BORDER— TREE DESIGN 
r>ARKS, Brown Green with a little Olive Green, or 
*-* use Black Green alone. Light parts, Apple Green and 
Black. Paint all on a fired ground of Gray Green and Pearl 
Gray. Browns or blues would also be effective. 
-f •$> 
BORDER— CONE DESIGN (page 240) 
INT cones Yellow Brown and needles Yellow Green. 
Background Dark Green, very dark. Partially out- 
line cones in same Dark Green. 
& •? 
BORDER— WALNUT DESIGN (page 240) 
HpWO shades of brown, Brown 4 or 17 and a little 
*■ Yellow Brown, on a cream ground. Greens might be 
used with good effect. Outline nuts with Black or the 
color used in the design. 
PLATTER, PLATE AND MUG-POPPY SEED MOTIF 
(pages 250 and 251) 
f)OD and leaf dull dark blue, Dark blue, Black and 
* Ruby Purple. Medium grey parts of design, green 
made of Olive Green and Black. Background, Apple 
Green and Black. The latter may be put on after the first 
firing and carried over the whole design except the blue 
parts, which will need a second painting of the same dull 
blue. 
