KERAMIC STUDIO 
6S 
light sky; eveiything in a room and out-of-doors is lighter or 
darker than the objects around it. The technical name for this 
difference is that of values. The value of an object is the com- 
parative light or dark note that object makes in relation to its 
surroundings. In a design it is the comparative light or dark 
which one area or space has in relation to the space around it. 
In wood carving the undercuts form the dark, while the raised 
parts are the light areas. In architecture, the windows, doors, 
chimneys and cornice are so many items like the pigments on an 
artist's palette, that the architect can, within the limits of con- 
struction, dispose of in such a way as to produce a work of art. 
He must have the same knowledge of composition that is re- 
quired of the artist. Both create beauty. The difference lies 
in their palettes and limitations of material. The designer, 
like the other two, uses for his palette some style, historic, 
naturalistic or purely inventive and with these and his know- 
ledge of composition sets about to create beauty. He too, has 
limitations to observe. 
We have partly considered line and found it possible to 
express many kinds of beauty. In dark and light there is op- 
portunity for quite another kind, one which without actual^ 
using color gives many of the qualities of color. An arrange- 
ment of greys can be made to strongly suggest Corot's pearly 
colors of dawn, Rembrandt's "Night Watch," Velasquez's 
"Portrait of a Man." The photographs of paintings produce 
effects in dark and light that are the foundation of color. 
If we reduce dark and light to its simplest terms, it will be 
that of two tones, viz : black on a white ground (Fig. vi) , the 
black standing for one and the white for the other tone. 
Problem I. As in our first lesson take some straight line 
motive; the Swastika, the Indian symbol for the four winds 
(Fig. ix). Compose it in four squares, three inches a side, 
make each square a variation based on the Swastika. Be sure 
to study the width and length of both the white and black areas. 
Figs. IX, X, XI are correct. Fig. xii is fault5^ It is good as an 
invention, but quantity of dark is not enough to balance quan- 
tity of light. 
Problem II. Use same motive as in Prob. I but employ 
the principle of repetition. Make four solutions, width of 
border two inches. Make variations based on the Swastika 
like Fig. xvi. One of the problems may be a curved border 
and a design for a plate or saucer thought of as in Fig. xvii. 
Avoid the thin washed out quality of Fig. xii. Much will de- 
pend on the imit, its width and the sf:)ace l^etween the units. 
Fig. xiii is faulty as the unit is too small for the white area. 
Fig. XIV is faultj^ as units are too large and crowded. 
Problem HI. Use some flower motive having large 
flowers and compose in four rectangles, seven inches one way, 
the other side to be determined by student. This is similar to 
Prob. II of the May number of Keramic Studio. Now fill in 
the background or the flower areas with black. Be sure to 
make flowers large as a small flower is much more difficult than 
a large one. Have parts of flowers and leaves frankly overlap, 
as this gives strength as in Fig. xviii. If the parts do not touch 
as in Fig. xx, a weakness and thinness is at once felt. A number 
of white flecks are left in the black areas of Fig. xviii to relieve 
heaviness; these light spots acting as echoes to the larger light 
spaces. The background shapes will present the greatest 
difficulty. On their simple and beautiful contour will depend 
the unity of the problem. I place emphasis on this as it is 
difficult to get and is nearly alwaj^s overlooked. 
Fig. XIX is faulty as there are two points of interest and the 
eye travels from one to the other. There is a lack of main mass 
to hold the interest. The background shapes have not been 
considered. 
Fig. XX is faulty as it has a spotty effect. No grouping of 
main mass. All parts barely touch. Backgromid areas not 
thought of as definite shapes. It lacks vigor and force, and 
there is wanting richness in color. For material use German 
white, water color or Japanese paper. For ink, the India stick 
ink rubbed on an ink slab until verj^ black is one way. Another 
is to use Charcoal Grej^ tube water color. Be sure to get the 
tone black. Brushes, small red Sable or Japanese. 
The object of the lesson is first, to train the mind to enjoj? 
the dark and light arrangement in nature and in art; second, 
to develop the power to create beautj' within the limitations of 
the terms. 
a 
THE CLASS ROOM 
All subseribere wishing to follow the course of lessons on designs by Mr. 
Froehlich, may submit their best three solutions of each problem to this depart- 
ment. They will be criticised in the magazine so as to afford the mutual help 
of class room criticism. The work of one lesson wall be criticised in the fol- 
lowing number of Keramic Studio. We can not return work sent for 
criticism. 
The Class Room criticisms will be made by the Editor on lines laid down 
by Mr. Froehlich. 
Rates for all Students follo'wing the class in T>esign 
.\ftpr working out solutions and marking them from 1 to G in order of 
