. Keramic studio. SALTS AND PEPPERS—ALBERT W. HECKMAN To be executed in gold with a touch of color in the border as the design may suggest. Use a light wash of the same color for the bottom part. 74 RERAMIC STUDIO Examples of musical themes in design: 1. 2. More pleasing because of slight variation oftime or space. (Always place lines close enough to get goodproportion.) 3. Variety adds interest. 4. Savage (straightline) ornament repeats at intervals. 1 I II II 11 II II II II M\l\l\l\ ■ Your exercise must express emotion. Vary your borderwith slant lines; dots may be used t
. Keramic studio. SALTS AND PEPPERS—ALBERT W. HECKMAN To be executed in gold with a touch of color in the border as the design may suggest. Use a light wash of the same color for the bottom part. 74 RERAMIC STUDIO Examples of musical themes in design: 1. 2. More pleasing because of slight variation oftime or space. (Always place lines close enough to get goodproportion.) 3. Variety adds interest. 4. Savage (straightline) ornament repeats at intervals. 1 I II II 11 II II II II M\l\l\l\ ■ Your exercise must express emotion. Vary your borderwith slant lines; dots may be used to add to the interest. Ifthe design seems scattered, perhaps adding another dot willmake it more satisfactory. There is no limit to what may be accomplished with theline and dot proportions. Indians use lines alone for motifs;for example, the tent and post and the tree FIGURE 3 The accompanying illustrations show three examples ofgood proportion and three of bad proportion. Each exampleis just one-eighth section of a plate border. No. 1 is mostpleasing because the heavier band is placed just where we wantthe interest of the rim to be, and is pleasantly balanced by aless important line. The attention is called to the very edgeof No. 2, and the plate is not so agreeable as No. 1 for thatreason. In No. 3 the interest is held in about the same wayas in No. 1. Now let us proceed to learn why the three examples beloware not so interesting. In No. 4 the weight of decorating is placed just where the flange or hip is joined to the bowl of theplate; whereas the decoration should follow the structural line,which is the edge. No. 5 makes us feel the monotony of aregular drum beat, the same relative space and line in anotherstyle as we find in Example 1 earlier in our lesson. Could weenjoy a dozen plates with just this style of decoration? No,we should want a pl
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Keywords: ., bookcentury1800, bookdecade189, booksubjectdecorationandornament
