240 
KERAMIC STUDIO 
^ Realistic 
B SEMI - REALISTIC 
c 
DELCORATIVE 
D 
DECORATIVE 
DECORATIVE 
F DECORATIVE 
.^•^^^te,>. 
G 
SV M BOLIC 
H 5V M BOUC 
vj ABSTRACT 
DECORATIONS FOR A CUP AND SAUCER FROM 
A aCADA MOTIF 
Hiujo Froehlich 
THE designs submitted for the March competition have 
proved a pleasant surprise. Not only is the quality of 
much of the work far above that shown in previous com- 
petitions, but nearly every design sent in showed an inteUigent 
use of a cicada motive, and a growing appreciation of the 
principles which underlie the treatment of natural forms, 
when applied in decoration. 
The cicada is what is commonly known as the locust', an 
insect familiar to all, and its various "views" are of such 
characteristic and interesting shape as to afford suggestive 
material to the designer. Even such minute parts as the leg, 
the antennae, the head and the wing were taken as themes upon 
which many variations were played, resulting in designs of 
much interest, though differing widely in originality and 
handling. The fact that the workers were limited to motifs 
found in one insect may account for the unusual excellence, as 
a whole, of the designs sent in. It is always best to set our- 
selves a limit, — to work within certain restrictions, if we would 
develop our inventive powers, and secure a simple and re- 
strained effect. It is never well to use too much material in a 
design. "Ringing the changes" upon some simple idea is a 
surer waj^ to success. 
In selecting animal or plant forms we may proceed by steps 
from the realistic 'to the semi-realistic treatment, then to the 
decorative, then to the symbolic and lastly to the abstract. 
This progression is illustrated in the group of sketches from 
A to F. Sketch A shows the realistic treatment — ^the insect 
is pictured just as it appears; the setting of the wings, eyes 
and legs are true to the life; the gauzy texture of the wings 
differing from the horny firmness of the legs and the pro- 
tecting armor of the body; these qualities are shown by means 
of the technique employed. But this pictorial treatment is 
not the treatment we should use, when we seek to adapt a 
natural form to design. It is by omitting unnecessary details, 
by carefully adjusting all parts to suit some purpose, that all 
animal and insect forms can be developed into design units. 
It is true, however, that some forms are in themselves more 
decorative than others, and can therefore more easily be ad- 
apted to design, those forms having a certain musical line 
qualitj^ — that is, a quality affecting the eye as a strain of 
music affects the ear. Experience and taste are necessary in 
even the selection of a motive. 
In sketch B the unnecessarj- parts have been to some 
extent rejected, and the line qtxality suggested in the realistic 
drawing of the insect has been emphasized, so that while none 
of the truth of growth has been sacrificed, the decorative 
quality appears plainl3\ Under this treatment, the motive 
can be used in many kinds of designs, but it would hardly be 
suitable for a cup and saucer. Even a semi-realistic treat- 
ment of an insect is unpleasant in its suggestion, when applied 
to any article used upon a dining table. Some people do not 
feel this prejudice to realism when plant forms are employed, 
but the offense -to the principles of design are no less manifest, 
when a realistic clover blossom or violet is ])ainted on a tea 
cup. Fitness to the purpose should be the criterion, in all 
design. 
Sketches C, D, E and F are all decoi-ative interpretations 
of the cicada. The origin of the motif is apparent in each, 
but the realistic elements have been veiy much subordinated. 
In these sketches, the design thought is uppermost, and 
manifests itself at once, although in each of them enough of 
the spirit of the insect is kept to aft'ord one who seeks for the 
