T04 
RERAMIC STUDIO 
TRILLIUM 
Adelaide Alsop Robineau 
HERE are many varieties of the 
Trillium but the general character- 
istics are alike all over the country, 
the noticeable variation being gener- 
a\\y one of color or size. Ordi- 
narily one comes across the large 
white Trillium which turns pinkish 
with approaching age and finalh^ a 
delicate violet before withering. On 
these the sepals are usually green 
and about the length of the petals but much narrower, in some 
varieties the sepals are much longer than the petals and of a 
purplish brown twisting at the ends as on the moccasin flower. 
Then one occasionally finds a scarlet variety or white with 
purple markings on the inner part of petals. So in conven- 
tionalizing the flower for design, one can without departing 
much from the natural motif vary the size and proportions of 
petals and sepals as well as the color. 
In order to demonstrate the immediate applicability of a 
course in design to the decoration of porcelain, it seems advis- 
able to select those problems which do not seem to be directly 
bearing on the work and show how they may be utilized. 
Problem I: To coraiDose a flower form in a rectangle so 
that the shapes of areas are well considered, the divisions of 
space are good, masses of dark and light balance and line 
movement is harmonious, also color as indicated by variations 
of grey. Figure 3 is an application to a pitcher of this flower 
composition. In repeating and using the entire panel as a 
motif it will be found necessary to extend some of the lines and 
eliminate others in order to make a simple and harmonious 
Figure 3. 
Problem I. Figure 1. 
rythm. First repeat the motif exactly, then consider what 
lines may be omitted without injurj^ to the design and line 
movement, omit all that you possibly can and continue the 
others so that the motif connects and makes a continuous 
border, change any lines that do not harmonize with the shape 
of the piece decorated, so that the form is emphasized; in the 
example given, the shape of the pitcher would be better if it 
bulged more in the middle ; in that case the drooping flowers 
fit still l)etter, emphasizing the fullest part of the curve. The 
color of the leaves is changed here so as to bring the lighter 
leaves in front of the darker, thus also emphasizing the curve in 
