244 
RERAMIC STUDIO 
soiirce of the motif the pleasure of discovery. These four 
units also show different waj^s of planning a motive; in C the 
decorative lines of the insect are utiHzed; in D the shape is 
simplified, and covered with a flat tone of grej^ — a band of 
darker grey bounding the shape; in E a band of darker grey is 
put outside the shape employed, leaving a pathway of white 
between the band and the shape; in F the parts have been 
separated, as in a stencil, allowing pathways of white or of the 
background tone to traverse the unit; both E and F tend to 
loosen the design, because these pathways carry the background 
tone into the unit without destroying its mass. G and H are 
symbolic. We can still trace a resemblance to the insect, 
but we feel that a slight readjustment of parts would destroy 
all traces of a likeness, making the unit an arrangement of 
abstract shapes. Even a form so abstract as J might be called 
a symbol, but it is scarcely recognizable as being taken from 
the cicada. Just how far the identity or source of a symbol 
ought to be kept is an interesting question. It is true that we 
feel an added interest in a design when we can trace its origin, 
although the symbols employed by American Indians by no 
means bear this out, for the same symbol frequently has manj^ 
meanings, and is capable of many interpretations. The 
beauty of many of the Indian design? lies in the simplicity of 
their lines, and in the evident restraint with which they were 
used. The typical Indian uses no unnecessary words in his 
speech. His communications with his fellow man are as j^ea, 
yea, and nay, nay. Something of this terseness and severitj^ 
appears in his. ornament. It ma3^ be severely simple, but it is 
dignified and strong. 
This evolution of a design unit shown in the group of 
sketches from A to J, is what is usually imderstood as con- 
ventionalizing, and it is along this line that many of the 
designs submitted in the competition have succeeded. Nos. 
I and 2 show imaginative power, as well as much originalitj^ 
in the treatment of the motive; the design sense is also strongly 
expressed. The shapes are refined and of good proportion, 
and the designs are so managed as to produce balance. All 
of the parts are well planned — ^not only the parts of the design 
itself, but the emjDtj^ or undecorated spaces are big, simple 
areas of good shapes. The design is therefore well balanced 
on the object. The feeling of restraint is especiallj^ apparent 
in No. I. There seems to be very little material used in this 
design, yet it is "just right.'' It has a silvery qualitj-, wlrile 
No. 2 demands a richer, fuller color scheme. All of the sketches 
sent by this artist — Nos. I, 2, 12 and 13 — have a delightfulh^ 
workmanlike qualit3^ 
In some of the other sketches, amateurish technique over- 
shadowed the merit of the design. Many of the cup shapes are 
poor, and some of the handles are quite impossible, but as the 
conditions of the coinpetition did not include constructi^^e 
design, defects in those particulars were not considered. 
No. 3 shows, in three tones, a simple, unique treatment. 
The width of the border as compared with the rest of the cup 
is well planned. The design does not interfere with the 
material of the object and the purpose for which it is to be 
used. It is a matter of regret that all of the designs were not 
done in two wa3's: one in black and white (or grej^s), and the 
other in the colors intended for the carrj^ing out of the desigti. 
To imagine what the effect of some of these designs in strong 
contrasts of black and white would be in soft color schemes, 
required a great stretch of imagination. The sketches were 
judged, however, not from the "black and white" point of 
view, but from an imaginarj^ color scheme, that would aft'ord 
the design all the assistance possible. 
Sketches 4, 7, 14, 15, 16, 17, 18 and 19, are the work of 
one artist, and show, the versatility and imagination of the 
true designer. To be able to invent from one motif so manj' 
arrangements, and by proper application to produce so many 
good designs, indicates power and thorough training. It is 
a pleasure to see such work. While there is a difference in 
the degrees of excellence which these sketches show, all of 
them are meritorious. In dignity, invention and application, 
No. 4 seems to lead. Compared with No. 16 of the same group, 
there is an indefinable something that gives No. 4 the prefer- 
ence. No. 16 is vigorous, well thought out, and well composed; 
but a set of dishes decorated with this design would look 
heavier and less refined than a set decorated with No. 4. No. 
7 is a delightful rhythm made from the leg of the insect as a 
motive; it is well spaced, making a good effect of dark and light. 
In No. 15 the invention is good, but the design is not sufficiently 
simple; this is especially true of the saucer, where the com- 
plexity of the line movement thrusts itself unpleasantly for- 
ward. A design should be so simple or so well arranged as to 
its line and its masses of dark and light color that the eye 
accepts it with an agreeable sensation. For this reason. No. 
14 is a better design than No. 15, but it is not so good as No. 4. 
Nos. 4, 14 and 15, are especially creditable, because of the 
unity between design and object; the eye takes in, agreeably, 
the whole idea, and a sense of fitness, utility and beautj^ is at 
once established. 
In No. 17, the cup design does not harmonize with the 
design on the saucer. On the cup, the unit is well placed and 
well related, but is somewhat too realistic in its treatment. 
No. 18 shows a verj^ original treatment of the motif; the 
border on the saucer lacks, somewhat, in restfulness; nor do 
the vertical stripes on the cup add to the beauty of the design; 
it would be an interesting experiment to make both borders 
narrower. 
No. 19 is well handled; here a carefulty planned color 
scheme would be essential to the success of the design; better 
workmanship would add materially to the effect of this series 
of drawings. 
In the series numbered 5, 10, 20, 21 and 2^, we have 
another set of designs in which the creative faculty has been 
vei-y active. In the previous set (Nos. 4, 7, 14, 15, 16, 17, 18 
and 19), the identity of the cicada was preserved, while in this 
set the artist has used the parts of the insect merely as sug- 
gestions, and from these has developed abstract shapes. The 
shapes have been so adjusted as to make good rhythms. No. 5 
being the most successful of these arrangements, largely 
owing to a certain restraint that has been exercised in the use 
of the motif. The result is simple, dignified and complete. 
No. 10, Mobile lacking somewhat in simplicity, holds together 
well, and there is a good balance in the width of the border, 
compared with the undecorated areas of the cup and saucer. 
The design applied to the cup is better than that on the saucer, 
because the wing shapes are smaller. In No. 20 a wider band 
on the edge of the saucer and on the top edge of the cup would 
be better. This design is not so interesting as the design of 
No. 22 because in the latter a better unit is used. A carefully 
selected color scheme would be necessarj^ to successfully carry 
out the design of No. 22, — one that does not show strong 
contrasts of hue, nor of dark and light. No. 21 is very rich 
in its tonal eft'ect, and holds together very weU, in spite of its 
many complex shapes. This is an instance showing com- 
plexit3^ and unity well managed. No. 23 is the least success- 
ful of this group, because the five units in the border of the 
saucer are too prominent; they disturb the balance of the 
whole. The sketches in this group, also, would be greatly 
enhanced by better workmanship. 
Nos. 6 and 24 are both interestirig; they, too, deal with 
abstract shapes evolved from the cicada, and show good in- 
