166 
KERAMIC STUDIO 
the dominant motif; and for the decoration of the small 
panels one might make twenty or more different arrange- 
ments of a peacock feather in the abstract, each of which 
could be used in harmony with the peacock motif itself. In 
the same manner one could plan a border for the inside of 
the bowl. Figure 7 is offered as a suggestion for it, if one 
cares for something more elaborate than a simple line 
arrangement like Fig. 8 which, in all probability, would be 
quite sufficient. 
— f*r 
The next thing to do is to select one of your motifs from 
your sketch book and make variations of it until you arrive 
at something that suits your purpose, for it is seldom that 
we find a motif in one me.dium that is directly applicable to 
another without alterations. Figures 5 and 6 are two varia- 
tions of motifs in the photograph. See how much fun you 
can have doing this ; try some free brush work with a brush 
well charged with black paint. We are purposely avoiding 
the use of color for reasons which we will take up later. 
Now comes one of the difficult parts of the problem! It 
has been said above that all applied art is dependent upon 
spacing. This has been accomplished to a certain extent 
if our motif is too large the background spaces will cease 
to be of any significance, and if on the other hand, it is too 
small the result will not be satisfactory. Here you must 
decide for yourself and abide by your decision. One person 
might make the motif large and another might make it 
relatively small for the panel and yet, comparatively speak- 
ing, each might be quite all right. It is best to try one way 
and then another and then use your preference. 
Up to this time we have been working in black and white 
only, so now let us proceed to color — the third part of our 
problem. But first let us consider why we have been pur- 
posely limiting ourselves to the use of black paint only. One 
reason is that we, as beginners, do not want to keep too 
many irons in the fire at once — but there is a greater 
reason. Much of the so-called applied art of to-day is un- 
interesting because it lacks that element of beauty that 
comes only from fine arrangements in dark and light regard- 
less of color. There is always time enough to think of color 
after we have gained a little of this beauty in dark and 
light only. Study the work of the experienced designers 
(this is where our photographs are so invaluable) . Take 
for instance the work of Miss Maud Mason, illustrated on 
page 157 of the February, 1918, issue of Keramic Studio. 
See how beautifully it has been planned out in dark and 
light regardless of the added charm it must have in color! 
In selecting the colors you want to use for this particular 
bowl our first thoughts are ordinarily to consider the colors 
of a peacock. We can, or we need not necessarily, let this 
be a controlling factor in making our selection of colors we 
choose to use. The important thing is not to lose the beauty 
in dark and light that we already have. In the customary 
way the writer could prescribe this or that definite color 
in the making of the panel arrangement for our motif. 
What we aim to do now is to place the motif as a certain 
dark area against a background panel of a certain shape 
and area so that each will enhance the other. We know that 
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