Vol. XVIII, No. 4. 
SYRACUSE, NEW YORK 
August 1916 
HE following letter is of interest to 
Keramic Clubs. There will proba- 
bly be various opinions on the sub- 
ject. It is, of course, important that 
in large cities there be annually exhi- 
bitions of crafts in which good work 
in china decoration is admitted by 
the side of other crafts. But it also 
seems to us, as it does to our corres- 
pondent, that Keramic Clubs should 
be as much as possible confined to keramic work and have their 
own special exhibitions of keramics exclusively. This would 
not prevent the members from submitting their work to the 
more general exhibitions of crafts, such as the Chicago Art Insti- 
tute annual exhibition and others which are open to all. More 
can be learned in a club by specializing on one line of study, 
than by taking a little of everything. And so too, keramic 
workers can learn more from an exhibit devoted exclusively 
to keramics, in which it is possible to compare one style of de- 
sign with another, one worker's technique with that of another, 
one color scheme with another. It seems that a Keramic Club 
should be devoted to keramics. A general art club is another 
problem altogether. 
I wish the Editor would sound a warning to Keramic Clubs against ad- 
mitting all branches (oil, water-color, tapestry, hand-colored calendars and 
the various crafts and embroideries) to their exhibitions. The result, with 
certain Clubs, has been discussion, conflicting interests and aims, and a source 
of misunderstanding among the members. Our Club numbers nearly fifty, 
but less than half are really Keramic workers. In a city the size of ours the 
field is broad enough to admit a Club of china decorators without any out- 
side lines. This might not apply to small towns, but I know of other Clubs 
that made the same mistake in organizing and they have been hampered 
ever since with these members who are always trying to elbow the keramics 
to the background, so to speak. — A. W. G. 
H H 
This letter from one of Keramic Studio's good friends will 
be interesting to those who are beginning to study table dec- 
oration. 
I have studied in one or two schools where "interior decorating" was 
taught and so far as I am able to observe the students and sometimes the in- 
structors are a bit "sweeping" in their ideas. They generally advocate throw- 
ing away everything one possesses and refitting entirely. And some of the 
substitutes they suggest are far uglier than many of the old things. It seems 
to me that a bit of judicious "weeding out" with care and taste in selecting 
wall-coverings, a few bits of furniture, upholsteries and rugs would put most 
middle-class American interiors into rather harmonious, pleasing livableness 
and comfort. And I think the same way about the table. I saw Mr. Fry's 
exhibition in New York and 1 am more than enthusiastic over its beauty, nov- 
elty and the pleasant emotions which it excites. But, of course, it is rather 
expensive to buy new tables, linens and dishes, so I think one can use some of 
the things one has, plus a few brains and a small outlay of money and arrange 
an artistic lunch or tea table, at one's own house. I tried it and will send de- 
scription of the result. 
Our china (of course!) is a Haviland dinner set. Every American family 
has one, just as we once proudly exhibited a Rogers group and a "set" of plush 
furniture. Well, ours has a light blue, naturalistic decoration, so I have added 
a bouillon set and a chop-dish that is appropriate and yet a fairly good match. 
We had a coat-of-arms in the house which an English genealogist assured me 
was authentic and we had a right to use. It happened to be in "azure", "or" 
and "argent" so I adapted it to my china, making the "azure" a bit pale and 
using much white-gold (in place of silver) and just the small amount of Roman 
that the motif required. So when I planned my luncheon the white, blue, 
(Continued on page 60) 
BEGINNERS' CORNER 
LITTLE THINGS TO TEACH BEGGINERS 
Mrs. G. L. Schuetz. 
I BELIEVE most teachers try to teach beginners the idea 
of suitable design, color harmony, etc., but I know from 
experience that many are prone to overlook the little things 
which so often cause disastrous results. 
For instance: How many there are who never learned 
that gold cannot be applied over unfired color or dirty or 
dusty china. I have had teachers (?) who did not know that 
the handles and edges must be cleaned before the gold is 
applied and "wondered why their gold would not burnish". 
But now for the "Beginners" and as in other lines, there 
are "Beginners and Beginners", in other words, "Beginners" 
who have "begun". I know I have often taken too much 
for granted when some one has had a "few lessons", but as 
I grow older in the work, I find that the best plan is to "Begin 
at the beginning", altho it sometimes requires considerable 
tact to do so. 
One of the first things to emphasize is cleanliness; clean 
china, clean pads, clean turpentine and a clean palette. 
How often the tinting will not pad out smoothly and we 
find that the china was not perfectly clean, or the tinting looks 
"muddy" which shows the pad was not perfectly clean. Clean 
the china by washing it, or clean with alcohol; keep your silk 
for pads soft and clean; the silks used for pads should always 
be washed, if new, before using and after they have been used, 
soak in turpentine and wash out with soap and water, just as 
you would wash anything else; they must be dried without 
ironing, by pasting while wet on a flat surface, or they may be 
ironed out after drying, but they should be free from all wrinkles 
before using. 
Then the proper grinding of the colors; no matter whose 
mixing medium is used, remember that the paints must be 
ground thoroughly and be of the right consistency. Have you 
ever tried to paint with "oily and grainy" paints? 
No rule can be given as to amount of color and oil to use 
as some colors absorb more oil; but one point to remember is 
that you cannot grind your paints well if you are using too much 
oil— just enough to make them smooth like thick cream or cake 
batter is a rather good rule to follow. 
Then another thing that seems important to me, is the 
systematic arrangement of the palette. Always have a place 
for each color and always place that color in its place. Much 
time and annoyance can be saved if one knows just where to 
reach for a certain color each time. Would one ever learn to 
play the piano if they had to stop and look for the right key 
each time — well, not very successfully. 
Then comes the proper handling of brushes. One of our 
rules is: Always clean your brush before using and always 
clean it before laying it down. 
Keep the brush soft and for any purpose, except where lines 
or accented touches are to be made, the brush should be kept 
broad and flat; taking the paint up by rubbing into the color 
instead of out, as most people have a habit of doing. Charge 
(Continued on page 57) 
