RERAMIC STUDIO 
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movement simpler and larger, do so, providing its elimination 
does not violate truthful drawing. 
In the tiles lay a faint wash of permanent blue and ivory 
black over entire four inch square. Wait until dry, then with 
much stronger color paint in some of the shapes, striving for a 
balance between the quantities of light and dark shapes. In 
this matter of balance no hard and fast rule can be made. In 
a general waj^ it might be stated that one must not dominate 
the other to any great extent. There ought to be main masses 
of light and main masses of dark, secondary masses of both. 
Problem II. Cup and Saucer — In this as in the preceding, 
use two tones either solid black on white or a dark grey blue on a 
light grey blue. Keep the cup and saucer shape very simple. 
Do not break anj^ structural lines. So often the rim of a saucer 
or plate is one string of wriggles. The same is true of the han- 
dles. 
First cup — Arrange a border in straight line motive. Fig. vii. 
This comes under linear repetition. Study width of border so 
as to make good proportion with width of undecorated part. 
Do not use motive too large as that would overbalance size of 
cup. On the other hand guard against the use of too manj- 
small ones. 
Second cu]3 or saucer — Use some motive from nature as 
Fig. VIII. 
Third cup or saucer — Employ some historic style as in 
Fig. IX, Gothic. 
Problem III. Plan some vase form. Let its general 
structure be vertical like Fig. x, viz: the long vertical lines 
ought to overbalance the short curves and horizontal lines so as 
to produce tallness. A reversal of this arrangement gives the 
effect of the low flat vase form. 
In the decoration use the conventionalized or realistic 
flower forms but in both cases only the decorative elements of 
the plant are to be considered. Avoid picture painting. Re- 
peat the lines of the vase with sorae variation in the design. 
Always set up a relation of this kind between the structural 
and the design elements. Paint in either the design or the 
background in black and white or two tones of blue. 
Do not forget the lesson side, which is to strengthen the 
judgment in determining just how much light and dark is to be 
used and the harmony of the edges of areas. Every area must 
be beautiful in itself and its beauty must be in keeping with 
that of its neighbors. 
o 
THE CLASS ROOM 
All subscribers wishing to follow the course of lessons on design by Mr. 
Froehlich, may submit their best three solutions of each problem to this depart- ■ 
fisU 
