RERAMIC STUDIO 
247 
vention, and a good feeling for balance. No. 6 is the better 
of the two, because its flow of line, and its arrangement of 
dark and light shapes give an arrangement that is more un- 
usual and at the same time more beautiful than No. 24. Let 
us remember that because a design is unusual it is not neces- 
sarily fine. It may be very unusual and at the same time be 
very bad. In these two sketches it is impossible to say where- 
in one is finer than the other; we only know that one satisfies 
the taste and jugdment more fully than the other, just as in 
the rendering of a piece of music, two artists may play it well, 
but one will give it an interpretation in some intangible waj' , 
that pleases more than that given by the other. 
No. 8 shows an arrangement of the wing motif in a rhythm ; 
it is simply done, and makes an effective design. 
No. 9 is excellent in design; to plan a border in rectan- 
gular shapes, and to compose within each rectangle some unit 
that comfortably fills it, is one way of arriving at a good result. 
Triangles, circles and squares can be managed in a similarly 
effective way. In No. 9 the little pathways of the background 
carried through the wings and body of the motif seem to echo 
and support the larger areas of the background, without 
destroying the masses of the unit. Without these pathways 
the design unit would be too solid. As it appeared in the 
sketch, the color was too heavy, and the shape and treatment 
of the design made a rather clumsy effect. The cup design 
would be better without the zig-zag shape attached to the 
border in each panel. 
In No. II the leg motif is cleverly managed, showing 
originality and a good balance of dark and light masses. The 
same might be said of No. 25, although this design differs from 
No. II in being delicate and rather silvery in tone, owing to 
the distribution of light and dark masses. If the dark masses 
are closely packed the effect is low-toned and tends toward a 
heavy but rich result. If the light areas dominate and the 
dark ones are small and well distributed the design assumes a 
light or silvery tone. When the light and dark masses are of 
about the same quantity, and evenly distributed, a medium 
tone results. Good designs can be made in all three effects. 
No. 26 is an interesting evolution of the motive from the 
realistic to the abstract. Its application in Nos. 27 and 28 is, 
however, not so good. The pathwaj^s into the units are too 
prominent, and the many sharp angles made by the radiating 
shapes annoy the eye, so that the effect of the design is un- 
restful. This unrestful quality is unfortunately present in 
Nos. 29 and 30, and is accomplished by too nmch action in the 
units. Curves attract the eye strongly, and while, when 
sparingly used, they may tend toward a flowing, musical line 
quality, too many will increase the movement unduly. No. 29 
has too many curves, and in No; 30, the units do not conform 
agreeably to the circular qualitj^ of the saucer, — their move- 
ment is not in harmony with the structural lines of the object 
to which the design is applied. 
Nos. 31, S2, 33, 34 and 35 are somewhat rudely drawn, 
yet they show much invention and a good feeling for design. 
A lack of experience in composing is evident in aU of these 
sketches. No. 31 is good in proportion and invention but 
lacks in refinement and in a good distribution of shapes. No. 
32 is unusual in invention, but shows a lack of harmony 
between the design unit and the space which it occupies, 
making the units very pronounced in effect. In No. 33 the 
units are too large, and the darks are too prominent, — they 
do not seem to unite with the light shapes. In No. 35, the 
five pointed star effect is unpleasantly aggressive; here again 
too many curves make the design seem unrestful. No. 36 
seems good in invention, but is somewhat overloaded — there 
is too much material in the design. No. 37 shows a scattered 
effect; the border without the three radiating units is sufficient. 
In No. 38, the design is hardly suitable for a cup and saucer; 
it would find a better application as a lace pattern. No. 39 
ought to yield good results, if done in colors showing less 
contrast than black and white; it is interesting in handling. 
The group from Nos. 40 to 45 shows invention, but in all 
except No. 40 there is a tendency to over-ornamentation. No. 
40 is more simply handled, and in colors contrasting not too 
much should make a practical design. In No. 41, the scallops 
are too pronounced. In Nos. 42 and 43 there is too much 
luovement, which could, however, be partly corrected b^- 
lueans of less contrast in light and dark. No. 44 has too many 
])oints and zig-zag lines and is therefore imrestfid. No. 45, 
No. 26. B. N. B. L. 
while possessing dignitj^ and much merit, shows the rectangular 
shapes too prominentlj-, although this effect could be over- 
come by makiiag the rectangles narrower. The sketches from 
Nos. 46 to 49 have some merit, especially Nos. 47 and 48. 
The designs are quiet and simple. In No. 48 the border is too 
wide. No. 46 is rather spotty in effect. . No. 49 is unrestful, 
because there is too much movement. All of the designs in 
this group lack excellence in workmanship. No. 50 is carefully 
done and shows good invention, but the design unit seems too 
aggressive. No. 51 is excellent in workmanship, shows good 
invention as to unit, and its light and dark shapes are well 
balanced. The manner in which the unit is repeated makes 
a set pattern, whose radiating quality is not agreeable. No. 52 
suggests rather too vividly the "crawly spider" quality. 
The eye is rather fascinated by the movement engendered in 
the design by the use of too many legs. The technique in 
No. 52 is very good. In No. 53 the unit has a rather weak 
appearance, due to the use of many thin lines. The peculiar 
placing of the units gives the effect of a too pronouuced path- 
wa3\ In No. 54 the unit, especially the body of the insect, 
is too prominent, but there is a restraint exercised in the com- 
position which gives the design ^simplicity and dignity. Here 
again the technique is good. 
Lack of space makes it impossible to give criticisms on all 
of the designs which were submitted, and for this reason, also, 
