RERAMIC STUDIO 
the straight line, so the landscape is more difficult than the 
flower, and the figure more difficult than the landscape. How- 
ever, the principle involved (that kind of beauty produced by- 
well related unequal shapes) is identical in all of these. It is 
for that reason that I begin with No. XII. The exercises can 
commence with fig. XIII just as well as fig. xil, but a rational 
mode of procedure would be to start with No. xil. 
I. Problem. The rectangle may be any size (4 or 5 in. 
one side is suggested) and placed horizontally or vertically ; 
across this draw straight horizontal or vertical lines trying 
to relate lines and spaces as in fig. xil, broad grey pencil lines, 
free hand, as a ruled line is tight, mechanical and has abso- 
lutely no personal quality. A vigorous pulsating line marks 
control of the hand and material. Make six different arrange- 
ments and mark the best No. i, next best No. 2, etc. This 
develops invention and judgment. Every solution ought to 
have large and small areas well related. Too many large 
areas produce monotony as in fig, xiv, too many small ones, 
give unrest and a crowded effect as in fig. XV. This latter fault 
is especially to be guarded against as it corresponds with over 
decoration, noisy treatment and the use of too much detail. 
It is the opposite of simplicity. 
II. Problem. Compose tulip motive in horizontal or ver- 
tical rectangle (about 5 or 6 in. one side) use pencil and any 
white paper such as German drawing paper. Several flowers 
may be employed, however the student is cautioned against 
the use of many in so small a space, as it is apt to result in 
confusion. Only the decorative lines of the flower are to be 
considered, hence avoid shading. Allow the rectangle to cut 
frankly across the flowers, leaves and stems. This would be 
true if we placed several tulip stalks on a rectangle drawn on 
paper and then copy only those parts that are enclosed by the 
rectangle. Fig. xvill is faulty, because it is not a composition. 
The flower forms and the background are not well related. 
It is merely a flower placed in the middle of a rectangle. 
part of it. Make six different arrangements in six rectangles 
and mark the best No. i, next best No. 2, etc. 
Fiy. UH 
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Fig. XIX is faulty because the movement from one corner to 
the opposite corner calls undue attention to the corner, and 
divides the rectangle into prominent triangles. Fig. XX is 
faulty because over crowded, and background shapes are not 
well considered. In fig. XXI the X movement being unduly 
prominent produces a clash between the lines. Fig. XVII is a 
correct solution, because the terms used, namely : flower, stem, 
leaf and background shape are given equal consideration. 
The background forms receive special attention. They are 
shapes in the same sense that the flowers are shapes; both 
are parts of the design, hence both will affect each other 
by their size and form. Too often this is forgotten and the 
design is placed on the background, but does not become a 
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Fij.JIF Faulty 
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III. Problem. Same as Prob. II. Make six arrange 
ments of landscapes in rectangles, in pencil, and mark best 
No. I, next best No. 2, etc. In this problem use as many 
trees as you like, keeping simplicity in mind and remember- 
ing that every shape in the composition must be carefully 
studied as to size and contour. Nos. xxil and xxill are correct 
solutions. Fig. XXIV, areas are too large and outweigh smaller 
ones. Fig. XXVI, the great number of small areas produce con- 
fusion, and the repetition of the same width in the trees and 
spaces between the trees, makes it commonplace. Fig. XXV, 
the road is too prominent and its direct movement to the cor- 
ner places the interest there and tends to lead the eye out of 
the picture. 
By thus doing these exercises, the creative faculty, the 
most precious gift to man, is developed and strengthened, and 
as this faculty is exercised by dealing with principles that 
underlie all art, we acquire a power and insight that will finally 
give us the key to all beauty. 
THE CLASS ROOM 
ALL subscribers wishing to follow the course of lessons on 
design by Mr. Froelich, may submit their best three 
solutions of each problem, to this department, signed by 
initials only. They will be criticized in the magazine so as to 
afford the mutual help of a class room criticism. This is an 
opportunity for study which should prove of great value to 
all serious students who have not the advantage of being near 
an art center. The work of one lesson will be criticised in 
the following number of Keramic Studio. 
