Vol. XVIII, No. 7. 
SYRACUSE, NEW YORK 
November 1916 
FTER long and careful consideration 
the Editors and Publishers have de- 
cided to restore Keramic Studio to 
its original form until after the war. 
The increased cost of production 
together with the scarcity of good 
ware for decoration has made im- 
possible the contemplated issue of 
a separate publication for the nat- 
uralistic. However to more than 
counterbalance this we have to an- 
nounce some splendid improvements. Beginning with the 
December issue, if possible, at any rate, not later than Jan- 
uary, we will introduce several new departments; a page de- 
voted to Beginners edited by Miss Jessie Bard; a page devoted 
to some one of the leading decorators with portrait, photo of 
studio and work; a page devoted to table linen and furnish- 
ings, edited by Miss Jetta Ehlers; a page of art notes, edited 
by Miss Anita Gray Chandler, all illustrated; monthly pages 
of design with art notes and instruction by Mrs. Kathryn 
Cherry, of St. Louis, Mrs. A. A. Frazee of Chicago, Miss Maud 
Mason of New York, Mrs. Dorothea Warren O'Hara of New- 
York and Mrs. Henrietta Barclay Paist of Minneapolis. (We 
give the names alphabetically so that we shall not be ac- 
cused of favoritism by the loyal adherents of any of these 
prominent decorators). 
We may have one or two new pages to add to this 
list, but as it stands we feel that we have accomplished 
wonderful results to get the co-operation of these leading 
decorators and artists and we feel that our subscribers will 
generously respond by helping us to keep up the good work. 
This they can do materially by giving as Christmas presents 
as many subscriptions of Keramic Studio as they conveniently 
can and getting their friends to do the same. If each sub- 
scriber would send only one extra subscription we would be 
greatly repaid for our trouble. Won't you try to do this? 
Later when we begin to emerge from the war cloud there will 
be still greater improvements. We have decided not to publish 
the naturalistic part of the magazine separately for the present 
on account of the added expense, and we have been unable to 
eliminate it entirely from Keramic Studio to please our more 
advanced workers, because of the number of decorators who 
still feel it imperative to do something of this kind to cater to 
their public, but we will at least use every effort to improve 
the quality of the naturalistic material published, though 
it is very difficult to get it now, the more advanced workers 
having given it up entirely, feeling that if the public cannot 
yet it they will more quickly assimilate the newer work. 
If our readers could know how proud we are not only to 
have secured the co-operation of these leading decorators, but 
especially to find them all so liberally willing to work, together 
for the good cause of better ceramic decoration, leaving out 
entirely all petty jealousy and personal rivalry, they would 
rejoice with us that the calumny "that women cannotwork 
together in harmony for a good cause" has been so wonder- 
fully refuted. We are seeking now some prominent decorators 
who can and are willing to do the same for the workers in the 
semi-naturalistic that these are doing for the disciples of the 
conventional and if good luck attends us, they will also appear 
in this new issue. We cannot give the names until we hear 
definitely. 
We are especially anxious to put before our readers as 
many different types of original design as possible so that 
they will begin to appreciate the value of original work and 
learn not to be content simply to copy the work of others, but 
as they become proficient in the handling of materials, become 
also ambitious to make their own designs, evolve .their own 
personality. The chief advantage of sketching your designs 
by hand instead of relying on tracings is that each person 
has a characteristic touch. The lines of one will be firm and 
bold, another's will be fine and sensitive and so on; the same 
design executed by the two types will be quite unlike and will 
not have the stereotj^ped expression of commercial work ob- 
tained by the use of transfers and decalcomania. It will 
also be found that little by little each decorator can learn to 
design for herself, of course the degree of originality will depend 
upon her gift, but she can at least learn to recombine motifs 
and the satisfaction is immense to be able to say truthfully: 
this is my own design. Keramic Studio aims to put before its 
public the very best obtainable of ceramic design and figures, 
so that the process of instruction with each individual will be 
generally as follows: first, tracing and copying a design exactly; 
second, adapting it to other shapes; third, varying the color 
scheme; fourth, recombining the motifs; fifth, making original 
motifs. There is little satisfaction in selling a piece decorated 
with the exact design used by another. There is some satis- 
faction in having it rearranged in color or design so that it is 
different. But when you can say it is the only one of its kind, 
then life will seem worth while. 
The Keramic Society of Greater New York offers the 
following courses at the American Museum of Natural History, 
77th Street and Central Park West, New York City. 
On October 4th, 11th and 18th the lessons will be especially 
devoted to the planning and working out of a fine collection of 
keramics, linens, etc., to be shown at the important exhibi- 
tion of the National Society of Craftsmen to be held in Decem- 
ber. 
Beginning with the first Wednesday in January, 1917, 
Mr. Fry will give a course of 16 lessons. 
The work will be arranged in two parallel courses: one in 
which Design will be considered with especial reference to 
overglaze keramics, the other one dealing with keramics and 
kindred forms of handwork in their relation to each other and 
to the broad field of Table Decoration. 
At each lesson both of these subjects will be considered, 
so that those interested only in keramics, and others desiring 
to specialize in the study of Table Decoration, may all be kept 
continuously occupied. This course is to be followed by an 
exhibition. 
K K 
Two important exhibitions of crafts in November: Art 
Institute. Chicago, and Detroit Society of Arts and Crafts. 
