KERAMIC STUDIO 
m 
MRS. VERNIE LOCKWOOD WILLIAMS - Page Editor 
University of Pittsburg Home Studio, 52 W. Maiden St., Washington, Pa. 
VARIOUS STEPS IN MOTIF DEVELOPMENT 
MOTIFS ARE POINTS OF DEPARTURE FOR THE DESIGNER 
"IV/f OTIPS may be figure, animal or vegetable, and may be 
■*■*■*■ either naturalistic, conventional or abstract. The natur- 
alistic motif has its origin in nature and is used when naturalism is 
desired without special regard to the material, use or medium 
in which it is to be developed. The conventional motif may 
have its source in nature but it is so developed in form,color 
and arrangement, that it is consistent with the use, material 
and medium in which it is developed. 
CONVENTIONALIZATION 
Conventionalization is the term given to the process by 
means of which a natural motif is changed to fit use, material 
and limitations of technique. There are all degrees of con- 
ventionalization from pure naturalism to pure abstraction. 
Step No. 1 is natural motif from the primrose. 
Step No. 2 is an adaptation to cross section paper of the 
line tracing. 
Step No. 3 is a by-symmetry or a balanced motif secured 
from step No. 1, choosing the part most interesting. 
Step No. 4 is unit 3 used with application of principles 
of design: rhythm, balance, symmetry, subordination, and 
harmony. 
Step No. 5 is confined to horizontal and perpendicular lines. 
The different degrees of abstractions are determined 
by the use, the material, and medium. 
A SUGGESTED PROBLEM 
1. Select simple interesting flower specimens. 
2. Reduce same to simple silhouette or outline. 
3. Separate parts of motif, using both suggested and 
arbitrary divisions. (Suggested divisions in nature). 
4. Secure balanced unit from part selected, using a mirror 
to see balance. 
5. Reproduce 4 in border form. 
6. Reproduce 4 in surface form. 
7. Adapt border to particular form for purposes of deco- 
ration. 
Additional applications and methods will be continued in 
January issue. 
IV 
