72 
KERAMIC STUDIO 
keep within them until his powers have developed by observa- 
tion and experience, will save him many disappointments and 
failures. 
He must realize, also, the limitations of his wood, of his 
tools and of construction; but if he is a right craftsman, these 
should help rather than hamper him and give character to what 
he does; and it is just by liis frank acceptance of these things 
and his use of them, that his sense, skill and taste are shown. 
There must be considered, too, the conditions of use and 
the place to be filled and the more or less arbitrary dimensions of 
certain parts, as the height of a chair or table, w'hich help deter- 
mine the general proportions. 
Each new piece will have its own little problems at everj- 
step for which only the most general rules could be given, but 
on the right solution of which the final success depends, for 
every part and detail must be planned in relation to every 
other part and to the whole. 
The plan which I follow is to think out as clearly as I can 
the piece of furniture w^hich I wish to design and then make a 
small sketch of it with pencil in perspective. When I have 
w^orked out my idea as nearly as I can in this way, I make a full 
size working drawing of the front and side elevations on heavy 
wrapping paper, with charcoal, for with that it is easy to make 
changes, as it is quicklj^- rubbed off with a bit of chamois. This 
I pin on the wall to the height to which the object would reach. 
Then I study it carefully in every detail, sometimes keeping it 
there for days or weeks, trying it by everj^ standard I know and 
making changes as they suggest themselves, nor do I allow it to 
be put into execution until it is the very best of which I am 
capable. It is hard for the beginner to think in solid dimensions 
and realize how a thing will look when finished, but this comes 
bj' practise and much measuring of things already done. 
It is a good plan to cut out, sketch or trace every piece of 
fuririture, or detail, that seems good or suggestive, from cata- 
logues, advertisements or any source whatever and keep them 
in a large, stout envelope. I find this better than a scrap-book, 
for there come weeding out times, as taste and judgment ripen 
and develop, and a single sketch is more convenient to work 
from. 
These are the general principles and methods of which I 
have tried to make specific application in the types I have 
chosen for illustration. 
The design in illustration No. I fills most satisfactorily the 
requirements of a dining or writing chair and makes a charming 
stool without the back. It is dignified and pleasing without 
pretensions to either elegance or primitiveness. It is strong 
and thoroughly well braced to stand the frequent moving neces- 
sary, but not so heav5^ it cannot be moved with ease. It is high 
enough to support the shoulders comfortably without interfer- 
ing with waiting on the table, and the back slopes slightly, for 
a perfectly straight back is not comfortable. The legs are 
shaped at the bottom and gain much in appearance without 
losing strength or stability. 
The easy chair in illustration No. 2, not being moved so 
often, and the whole sentiment being one of comfort and repose, 
is larger and heavier. The seat is lower — and the lower it is, 
the deeper it ma}' be -and is usually more comfortable if made 
