. Keramic studio. square drops out andinsists upon more lines being placed within the large let us add the line in Figure II. Now we are better satis-fied, and yet we have not balance, for the lines are all mererepetitions of the outer lines without being held in the let us bring lines in from the edge as in Figure III. FigureIII is the same tiresome drumbeat or checkerboard; there isno variation of space or mass. But with the suggestion fromI, II, and III, Figure IV is complete in introducing lines intosquares. Still we are not happy. We have not we work we fin
. Keramic studio. square drops out andinsists upon more lines being placed within the large let us add the line in Figure II. Now we are better satis-fied, and yet we have not balance, for the lines are all mererepetitions of the outer lines without being held in the let us bring lines in from the edge as in Figure III. FigureIII is the same tiresome drumbeat or checkerboard; there isno variation of space or mass. But with the suggestion fromI, II, and III, Figure IV is complete in introducing lines intosquares. Still we are not happy. We have not we work we find that by grouping two or more lines we gainthe dark of a pattern, illustrated in Figures V and VI. Thisproduces variety and, naturally, adds more interest withoutdestroying the big space of the design. Figure VII is simpleand harmonious, while VIII and IX are crowded and X is the most satisfactory of all. We must alwayskeep in mind the areas of white to secure the pleasing contrastof space and PLATE II Plate II. We have in this square an example of thearrangement of light and dark in design. This is a squarewithin a square. By placing other lines in various spaces,the square is well filled and complete. By the grouping ofthe three parallel lines in the corners, we have the dark ormass balanced by the light (the large space enclosed by thedouble line). Note the various small spaces which balancethe large space. Here we have four examples of plate borders, formed bythe grouping of straight lines which flow with the structurallines. Keep in mind the light and dark here as well as in the squares. Think of the proportion of the border to the sizeof the plate. Figure 1 lacks interest, for we have no smallspace to balance the large space; yet the grouping of lines isinteresting. So let us bring in a line from the edge as illus-
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Keywords: ., bookcentury1800, bookdecade189, booksubjectdecorationandornament
