Vol. XVIII, No. 5. 
SYRACUSE, NEW YORK 
September 1916 
UBLISHERS in this country are fac- 
ing a difficult situation at present. 
The rapid increase in the cost of pa- 
per, of engraving and all other pub- 
»| v »mwmm«w «^ y/,m lishing expenses has to be met in 
II j|)|';tf|!ji;iS^jw!B' some wa Y- Probabilities are that 
before long there will be a general 
increase in the subscription and ad- 
vertisement rates. We do not like 
to increase the subscription price of 
Keramic Studio and will do it only in case of absolute necessity. 
But it may become a necessity, and our subscribers should 
realize that every business must adjust itself to the rapidly 
increasing cost of living. China decorators must themselves 
offset the growing cost of all the materials they use and of their 
personal needs by a raise in the price of their work. 
One should not forget that we started Keramic Studio sev- 
enteen years ago at $3.50 and raised the price to $4 in 1906. 
In the first years the Magazine contained little more than half 
what it contains now. Two years ago we further increased its 
contents by giving two color studies instead of one. In the 
last ten years, as everybody knows and feels, the cost of living 
has increased enormously, nearly doubled. Keramic Studio 
at $5 a year would be cheaper today than it was at $3.50 in the 
early years or at $4 in 1906. 
However, there is one way in which the possibility of a 
raise of the subscription price could be avoided, and that is by 
an increase of the circulation. It is well known that the bigger 
the circulation of a magazine is, the lower is the cost of each 
copy. This allows publications of very large circulation to put 
their subscription price at extremely low figures. A special 
magazine like Keramic Studio, with a necessarily limited circu- 
lation, cannot be cheap, but the fact remains that an increase 
of a few thousand in the subscription list would help a good 
deal and would solve the problem which confronts us in present 
conditions, and would make unnecessary a raise of price. 
Keramic Studio is read and studied every month by more 
than 20,000 decorators. It ought to have at least 10,000 sub- 
scribers, but at no time in its existence has the subscription list 
exceeded 6,000, and we have before in our editorials called atten- 
tion to the cause of this fainthearted support, notwithstanding 
the undeniable success of the Magazine. It is that a great 
many decorators who need Keramic Studio do not subscribe 
because they find a copy of it either at their public library or in 
their teacher's studio. 
We offer club rates to teachers to encourage them to take 
subscriptions among their pupils and friends, but we constantly 
receive letters saying "I cannot persuade my pupils to subscribe 
as they can use my copy of the Magazine in the studio. " Now 
this is human nature, and we do not very well see what can be 
done about it. But is there no way for a teacher to persuade 
those pupils that if they need and use the Magazine they owe 
to it their loyal support? It is not only a moral obligation, it 
is for their own interest, for a magazine must continue to 
pay its expenses and the living expenses of its publishers. 
In the present serious situation of a growing increase in 
the cost of publication, which can be met only in one of two 
ways — an increase of circulation or a raise in the subscription 
price, — we again urge our friends and all teachers to do their 
best to secure more subscriptions for us. The price will not be 
raised this fall, the club rates will remain the same, but we do 
not know what will have to be done in 1917. Our decision will 
depend on the way subscriptions come in between now and Jan- 
uary 1st. 
» » 
All the answers to V. S. P. having been published, we would 
like to hear from our readers as to which letter they found most 
interesting and convincing. If too busy to write, will you just 
send the name of your choice on a postal card, it will be greatly 
appreciated. Also write on the card what special feature you 
would like in the Magazine for its improvement. 
« « 
A new arrival on the editorial desk is "Colour, a Handbook 
of the Theory of Colour," by George H. Hurst, F. C. S. 11 
color plates, 72 illustrations. Scott, Greenwood & Son, 
London. The book treats its subject very fully, both theoreti- 
cally and as applied to design, and should be valuable to the stu- 
dent designer. 
BEGINNERS' CORNER 
CARE OF MATERIALS 
Jessie Bard. 
TN order to make a success of any line of art work one should 
■*- express oneself in one's work. The style of work that 
pleases best, is the one in which you feel the artist has put real 
enjoyment, but can you imagine him happy over his work if he 
is obliged to labor with brushes that are in a bad condition, or 
with paints that are hard and dirty, making it almost impossi- 
ble to produce clear snappy color? 
Most beginners do not understand about the care of mate, 
rials or are careless in regard to it. If you are using a palette 
for your colors, before putting it away, wipe off all the linty 
waste color that has accumulated, and close the palette to keep 
the dust out. A drop or two of clove oil placed on the palette 
before closing will keep the colors more moist. Before using 
the colors again rub them up with a little turpentine to soften 
them and place them back on the palette as neatly as you can. 
Most beginners use too much oil in the colors, causing 
them to run into each other on the palette and also to gather 
lint in the work. The color should be thick enough to stand 
up in a heap and should not spread out at all. 
Brushes should always be cleaned before putting them 
away and left in a good condition, the hairs should be kept to- 
gether and the tips shaped so they will not be bent. Painting 
and oiling brushes should be cleaned in turpentine, India ink 
brushes in water, gold brushes in alcohol. Lustre brushes should 
be cleaned thoroughly in turpentine and then in alcohol, and 
then they should be brushed back and forth against the hand 
until they are dry and fluffy. 
A cup of turpentine should be on the table before the worker 
to clean the brushes; the paint will settle at the bottom of the 
