156 
KERAMIC STUDIO 
MRS. HENRIETTA BARCLAY PAIST 
2298 Commonwealth Ave., St. Paul, Minn. 
Page Editor 
AN OPEN LETTER 
AMONG the many inquiries which have come to me as a 
result of my published lessons in Keramic Studio are 
some from little groups of Keramic students — not yet closely 
organized into clubs, who realize the need of instruction and 
who feel that they might benefit more by banding together 
for a definite course of study than by pursuing their individ- 
ual efforts. 
Some of these groups are already registered for the course 
in design and are doing satisfactory work, but for the bene- 
fit of others who are contemplating instruction or for some 
with whom the thought has not as yet become concrete I 
would suggest some of the practical benefits of concerted study. 
There are many isolated workers all over the country, who, 
not having the opportunity for personal instruction of Art 
School or Studio have availed themselves of the opportunity 
offered in my non-resident course in design. The results have 
in the main been most gratifying — we have demonstrated 
that the principles of Design can be presented and the exer- 
cises satisfactorily worked out on paper. We scarcely miss 
the personal contact in these lessons, so definite and intimate 
do they become. But how much more of benefit and of 
pleasure might some of these individual workers derive from 
the work if they could show their efforts with the criticisms 
to others similarly interested and discuss and compare results. 
It is difficult to hold a large club together for a long period, 
but these little groups of three to six are not so unwieldy 
and we are having the best chats over our work and accom- 
plishing results. Clubs and groups send fewer designs per 
member for criticism than do individual workers; but the 
combined lesson of the group makes a nice bunch of designs 
for all to look over and discuss and compare; and all get the 
benefit of the criticism of the whole, while the cost to each is 
much less than for isolated workers. 
Every now and then I am confronted by a design in 
Keramic Studio from some of these students who, I know, 
have had no other instruction than the work of this course, 
and it always fills me with a glow of satisfaction. Ker- 
amic Studio, by putting these lessons in text book form has 
made it possible for me to reach and help many more than 
formerly and I have long felt that I could render more perma- 
nent service to Keramic students by trying to help them to 
understand and demonstrate fundamentals, than by teaching 
the methods of applying decoration to porcelain. Design 
is another word for Creation, and an understanding of the 
laws of Design opens up a world of possibilities. It simplifies 
every problem, adds zest to life by opening the eyes to beauties 
to which we were blind. It is the answer to our questions, 
it substitutes knowledge for feeling, order for chaos, dignity 
for triviality, refinement for vulgarity. Is is not worth while? 
SECTION OF BONBONNIERE 
BONBONNIERE 
THE design is an all-over pattern made by combining two 
Persian units. Carried out according to the treatment 
given it will be effective and ornamental. In the treatment of 
bonbonnieres and all articles not intended^ expressly, for the 
table we have more latitude than for those things which are 
strictly for table service. They may be considered as partly 
ornamental and give opportunity for elaborate and decorative 
patterns and liberty as to color. This, because there is to be 
but one of a kind- — and the background and environment is 
usually quite different from those articles designed for table 
use. This is one of the places where we are on safe ground 
when adding our contribution to the present color carnival. 
COVER 
Ground, Old Ivory. Tulip shaped flowers, Persian Red. 
Stamens, Orange. Leaves to tulip shaped flowers, Emerald 
Green, New Green. Three petal flowers, Deep Blue. Leaves 
to three petal flowers, Rich Green No. 2. Centers three petal 
flowers, Orange. Centers in two lower flowers Orange and 
Green. Dots, Orange (Dark Yellow Green). Areas used as 
"fillers" Green No. 2. 
BOX 
Path, Old Ivory. Dots, Orange. Large flower units, 
Persian Red. Small flower units, Deep Blue. Centers, Green. 
