By Eadie Reid, Pupil of Sir W. B. Richmond, R.A., K.C.B.
The value of drawing for decorative purposes has been neglected in the past. An effort is being made to remedy this by the teaching of the principles of ornament and the laws of decorative art-form. The study of Greek Ceramic art shows the important part that the brush plays in the formation of conventional form. It is therefore essential before dealing with the theories of design or composition that a thorough mastery over the brush be acquired. The shapes which the pressure of the brush gives us, will enable us with ease to trace the evolution of pattern from the primitive zig-zag or dot and line to the subtly graceful scrolls and meanders of later times.
Before proceeding to more advanced problems in design we must confine our attention to the filling of spaces, such as squares, oblongs and circles, with these simple brush marks suggesting buds, leaves, flowers, etc. For this purpose we can find no better models than the Greek vase and the skilful brush renderings of Japanese art. When the student has succeeded in arriving at something like an original composition, we must be careful to insist upon the value of sound, well understood growth running through the whole scheme, while simplicity of line and originality of thought should be encouraged. The application of the principles of design ought to be demonstrated by cartoons showing the ornament designs of different races and ages. It would be advisable to work these before the student, showing every line of their construction, stage by stage, until we have a clear workmanlike drawing upon a fairly large scale.
When the pupils can express themselves with freedom, an actual piece of work should be taken in hand, such as panels for a cabinet or piano, the designing of surface decoration, wall-papers, hangings; the use of the stencil and frieze painting. Ladies can very well produce such friezes on the walls of their houses; some in Cheltenham have been most satisfactorily conceived and executed in tempera, while others are designing panels and frieze decorations with a view to their execution in situ.
CHINA PAINTING.
By Minna Crawley, Silver Medallist.
Any one possessing some knowledge of drawing or painting may acquire the technique of china painting without either much difficulty or expenditure of time.
China painting possesses many features of interest which make it both a useful and attractive study for young people. It is one of the very oldest forms of art—a fact interesting of itself. The revivals in majolica, faience, and many other kinds of ware of late years, show how widespread the appreciation of the factile art has become; and with the desire for good form and substance has come that of the most suitable decoration of it.
Much may be gained in the knowledge of design by the adaptation of decoration to different styles, so as to suit the form to be ornamented. This develops also originality and manual dexterity, and tests patience; no work in this branch can be completed without the process of “firing,” which assuredly “tries every man’s work”; for while it brings to perfection the colours, and gives the necessary strength and gloss, it also fixes and brings into strong relief every error—and warns against future mistakes.
Vases, flower-pots, tiles for fire-places, dessert services, tea-sets and many useful household articles can be ornamented; and thus taste cultivated and the home beautified.