RERAMIC STUDIO 
179 
PRINCIPLES OF DESIGN 
(Sixth Lesson) 
Hugo FroeJiIicJi 
UR surroundmgs are such potent, 
although often unconscious influ- 
ences in the development of taste, 
that we frequently overlook their 
merits or demerits. The quarrel 
that is waged between poorly de- 
signed furniture, naturalistic effects 
in rugs, explosions in wall paper, 
heavy colored wood trimmings and 
pictures out of harmony with all 
else, marks us as victims. Although we may be imconscious 
of it, our nerves are constantly being harrassed. 
This seems contradictory, but it is nevertheless true. How 
often are we conscious of the noise of the street? People living 
near a railroad are not cognizant of passing trains. So in 
sleep we who live in large cities may not actually hear the roar 
of the street, but the roar is there and is continually wearing on 
our nerves. We usualty plan to spend our vacation in some 
quiet country spot, away from the nerve destroying noise. 
Why are some hoines cozy and inviting, others statety and 
cold, still others luxurious and costly, but forbidding? Why 
are some like second rate museums while others on the contrary, 
by their quiet, simple restfulness, awaken a desire to remain? 
It is invariably due to the taste of the one who controls the 
arrangement of the home. For this reason the artist's studio 
is attractive. His studio lil-fe his painting is his creation. On 
his walls may be found prints, draperies, bric-a-brac that are 
like little songs of beauty, and so arranged as to form one com- 
plete melod}^ which we call his art atmosphere. In this melody 
the construction of the room, the color of floors, walls, ceilings, 
the selection of rugs and furniture, play iniportant parts. 
The arrangement of a room is governed hy design princi- 
ples as much as any work of art. And wherever it is possible 
to create the designs or better still, the finished articles that are 
to be a part of the arrangement, just to that extent will the 
room bear the imprint of our individuality. Often simple 
means produce good results. Pottery, ceramics, weaving, 
carving, metal, stencils, etc., are some of the means of trans- 
fonning the home and creating art atmosphere within the 
reach of every layman. 
It is for this reason that, rather than placing emphasis 
upon ceramics, the many-sidedness of the design question has 
been dwelt upon. 
The stencil, for instance, is one of the simplest and most 
effective means of getting good results in decorating the home. 
It has been extensively used by the Orientals and is an impor- 
tant branch of decoration with the designers of the present day. 
Walls covered with a plain paper can be made unique by its 
employment. Similarh', walls covered with a cheap seven 
cent burlap, tacked on and afterwards sponged to take out 
wrinkles, offers an excellent ground for stencilling. The burlap 
being of a low toned grey yellow, offers a quiet refined color 
that harmonizes well with shelves, cabinets, pictures, etc. The 
nature of its fibre breaks the color of the stencilling and pro- 
duces an agreeable color scheme. 
Metal work, in shape of sconces, placques, hanging lanterns 
and bowls, agrees beautifully with this material. 
Curtains, couch and pillow covers, and portieres of various 
materials can by means of the stencil be made into works of art 
bearing relationship to the rest of the furnishings, and above all 
l^earing the imprint of our personality. 
Likewise painting on ground glass produces an effect 
similar to, though not so rich as colored glass. This can be 
framed and fastened to the window sash without disturbing 
the construction of the window. 
Problem I — A good working stencil can be made by 
planning the design on some heavy paper like manila. If for 
an all-over pattern, several units as in Fig. 4 may be designed. 
If for a border, a unit similar to Figs. 5 and 3 may be used. 
If for a pillow design of four sided symmetry, but one- 
fourth of the pattern is necessary. All the laws of arrangement 
that have been studied thus far are here applicable. 
The stencil has mam^ advantages to recommend it to the 
designer. Once made it can be used indefinitely in multiplying 
the design. The eft'ect is flatness — viz.: but two dimensions 
are shown and it is therefore suitable for- wall spaces. The 
nature of its construction conventionalizes a motive. This is 
especially true of naturalistic forms as in Fig. 3. The fact that 
all parts of a stencil must hang together is an advantage, as it 
carries pathways of background color through the design and 
thus breaks up a large color spot without destroying its mass, 
as in the Genoese velvet. Fig. 6. 
In planning a flower motive for a stencil, take as an ex- 
ample the common garden lily, Fig. i . From this plan a border 
as in Fig. 2. Here one complete unit and part of the same unit 
in the next repeat is shown. To change this into a working 
stencil, transfer the design to heavj^ manila paper, and with a 
sharp pen-l-mife cut out all the dark shapes, taking care to con- 
nect all white shapes with fairty wide pathways. This gives 
