This section is from the book "Arts & Crafts Magazine Vol1-2", by Hutchinson & Company.
(Continued from page 184.)
IN making our selections for illustration from the six hundred and ten objects which received awards at the National Art Competition, we have naturally to consider their availability for reproduction in black and white. The nature of the materials in which they are executed renders some of the objects quite unsuitable for our purposes. Among this number, unfortunately, is Miss Fanny Bunn's charming little panel, which won for her a gold medal and the Princess of Wales' E 25 Scholarship. The design - a knight setting out for the tournament - would have made only a commonplace illustration: the brilliant and harmonious colouring and the exquisite translucence of the enamels could not have been even suggested. Similar technical objections would apply to Miss Rosalind Fouracres' panel in painted porcelain tiles, but we have illustrated it nevertheless, because we find the graceful peacock design is in itself so attractive. It is always interesting to an art student to get an artist's own account of the planning and execution of a design. In response to our request for such particulars from Miss Fouracres, the lady writes: " My method of work in this instance was, first, to make a few small sketches for the purpose of scheming the design. When satisfied with one, I drew it full size on a blackboard with chalk, keeping the design chiefly in big masses. Next, I again re-drew it carefully on brown paper, using studies of the orange plant, etc. This drawing, which was complete in all details, was coloured with pastels, and entirely finished; then a tracing was made for the final panel, with colouring as before arranged."
Mr. John Potter, another gold medallist, whose stencilled frieze for church decoration, illustrated herewith, the examiners "commended for its dignified simplicity of treatment, as well as for its frank and well-harmonised colour," points out that in place of the angel there could be substituted the patron saint of the church using the design, alternating with the winged lion and the pelican. For the same building, he has provided stencilled panels introducing the four Evangelists, one of which we reproduce.
In regard to Mr. Charles Vyse's "well-conceived wall fountain, executed in glazed pottery - remarkable for its unity in effect and its spirited execution," the artist, at our request, sends us the following note, which may be read with interest in connection with Mr. Cantoni's Demonstration on Casting, in another part of the magazine: " When the clay model was complete, a plaster mould had to be taken, which necessitated the model being cut up in various pieces. Each piece was then moulded, the mould being in sufficient parts to allow the clay press which is afterwards taken to draw cleanly away.
In making the press, care had to be taken to maintain an even thickness of clay throughout, the clay being allowed to stay in the mould for a short time to allow it to contract, thus facilitating the removal from the mould. These various sections were then fastened together with clay slip (moistened clay) in their proper places, care being taken that no air was left between the joints. After the whole model was reconstructed, it was thoroughly dried and ready for firing (or burning), which process took about four days. After removal from the oven, called the 'biscuit kiln,' it was glazed and re-fired in the glost kiln, great care having to be taken during the cooling of the kiln to keep out the cool air; otherwise it would have been sure to dunt, or split."
Miss Beatrice M. Lambert, concerning her plaque illustrated on page 243, writes: " I should call it an up-to-date Majolica decoration. In the first place I traced out the design with white slip or clay outline on the red clay body. Of course, great care had to be exercised in getting an even line. Alter this stage the work underwent the process of a bisque lire. Next came the glazing process, with which even greater care had to be taken; and, finally, came the glost fire, with the result that you have seen."
We conclude our summary, begun last month, of the official report of the examiners in the National Art Competition, with lists of the awards.
Designs for Panels and Friezes, Ornament, &C. - The examiners (T. Erat Harrison, E. S. Prior, R. H. A. Willis) complain that the suitability, for their purposes, of the designs for panels and friezes has not been kept in view. "The competitors have failed generally from not appreciating the conditions of frieze design; for example, the planning of the ornament in relation to the sequence of the masses and lines has too often not been considered; in some cases, landscapes with realistic perspective but no decorative adaptation have been introduced. As a rule, the colour has not been kept sufficiently pure and bright, but has run into dirty greens and lurid browns."
In Historic Ornament, the standard of work is not found, on the whole, to be as high as last year, although greater judgment in the choice of studies is noted. "Greater attention should be paid to the details of construction in the objects represented; as, for instance, in the case of metal work. In the studies of textiles, small diagrams should be given of the planning of the ornament, and of the methods of weaving used to produce the effects."
In " Flowers and Three Designs" the standard of work is found to be "fairly good." The examiners, however, deplore "a tendency to make use of a meaningless wriggled line, to the exclusion of the decorative quality and the distinctive growth of plants selected. In many cases mistaken tricks of design obliterate the character of the flower." The student is asked to note that " the main object of this exercise is to encourage a careful study of the plant, so that freshness and originality may be imparted into design by a direct reference to nature."
Fire-dog. By Ernest Copestick, of the Nottingham School of Art.
Bronze Medals (designs for panels and friezes) to Kate Menzies and Hilda Payne, both of Newcastle-on-Tyne (Durham College) School of Art. Book Prizes to Benjamin Lamb, of Wolverhampton School of Art; Arthur B. Waller, Liverpool (Mount Street) School of Art; and to Amy S. Robson, Durham School of Art, for designs for friezes. Bronze Medals (Historic Ornament) to John Stanley Bates, of Oldham School of Art, "for some good studies of metal-work in the Italian style of XV. XVII. centuries"; and to Augustus Bryett, of Manchester (Cavendish Street) School of Art; "for the workmanlike character of his set of studies, showing the historical development of the fireplace. Book Prize to Clara E. Kane, of Manchester (Cavendish Street) School of Art, "for her well-executed studies of wrought ironwork," Bronze Medal to Christian Bisset, of Kirkby Lonsdale Art and Handicraft Classes, "for a delicate and refined set of designs based on the Wood Sorrel. Book Prize to Albert Edward Collins, of Napier, New Zealand, for his designs based on the thistle. Silver Medal to Eva Jephson, of Derby School of Art, for "the careful execution and thorough study shown in the set of drawings" from nature in preparation for design. Bronze Medal to Leonard Timson, of Battersea (Polytechnic) School of Art, for his well-executed design for a panel in the Italian Renaissance style.
The examiners (J. Belcher, A.R.A.; Reginald Blomfield; T. G. Jackson, RA.) find no improvement on the unsatisfactory work of last year in the drawings from actual measurements. In architectural designs they lament a continued "falling off both in number and quality. They consider that some of the designs - such, for instance, as those for a theatre, a market, a concert hall, and a club, which all appear under one school number - should never have been submitted, as they show a total ignorance of the first principles of architectural design. The examiners are surprised that the master should have passed such work, and still more that it should have been sent up for competition. In the domestic designs it is noticed that the lighting of passages receives little attention, and the offices arc-often badly arranged."
Silver Medals to Albert Edward Richardson, of Chancery Lane (Birkbeck College) School of Art, "for a creditable design for a pavilion in a public park"; and to Robert Atkinson, of Nottingham School of Art, "for his design of a covered bridge in connection with a college or cathedral, which is, however, injured by deliberate eccentricities." Bronze Medals to same student (Atkinson), "for his design for a crescent in a large city"; and to J. Harold Gibbons, of Manchester (Cavendish Street) School of Ait, for his drawings from Evreux Cathedral. Book Prizes to Cecil Campbell Durston and Frank Kennerell Pope, both of Weston-super-Mare School of Art, "for their neat and careful drawings from All Saints' Church, Wrington"; also to William Frank Chandler, of Bath School of Art, for his measured drawings; and to Archibald Walmsley, of Accring-ton School of Art, "for a laborious design of a town church. The work was of far too ambitious a character for the student."
The examiner (Prof. W. E. Dalby), in regard to the drawings made from actual measurement, remarks that "Some were spoilt by attempts to colour and shade them; many others failed to reach the standard required for special mention, because the draughtsmen had not learnt the elementary fact that fine drawing requires a sharp pencil. A few were spoilt by the inking in. Students of mechanical drawing cannot devote too much time in the initial stages on acquiring the art of drawing an accurate straight line through two given points, or the joining of straight lines and curves to curves. If this kind of finger skill is not acquired at the commencement, it is difficult to learn to make accurate drawings afterwards." The drawings examined, "and which purported to be designs, were for the most part mere copies of existing things. In no case was originality in the art of machine design exhibited by any candidate. Many drawings of ships were sent in without any work to indicate that the candidate had done anything but copy the lines of an existing vessel: no displacement, immersion, or stability curves being given."
Silver Medal to Raymond Withington, of Cannock Evening School, "for a set of accurate and finely executed pencil drawings of a high-speed engine." Bronze Medals to Herbert Kaye, of Oldham Municipal Technical School; to Horace James Calver, of Ipswich Higher Grade Council School, "for good but less accurate pencil work"; to Archibald Taylor, of Paisley (Technical School) Science Class, for the design of a cross-channel steamer.
The examiners (Herbert Draper, Seymour Lucas, R.A., W. F. Yeames, R.A.) find an improvement in drawings of heads, and a slightly higher standard than last year in the drawings of hands and feet. They consider, too, that in drawing the full-length figure, the general standard of work is good, though they "regret that no drawings in this (last named) subject have for the past eleven years reached the level of a gold medal award. It is apparent that less attention is paid than formerly to this important class of study, and the examiners feel that more time-should be devoted to it; they would impress on both masters and students that this exercise is the foundation of all good figure drawing. They are glad to notice, however, that there is not so much evidence as formerly of heavy dark drawings."
Silver Medals to Olivia M. Lloyd, Manchester (Cavendish Street) School of Art, for "study of a head remarkable for good drawing, and for the thorough and intelligent ren dering of the modelling without loss of the white appearance Of the cast"; to Margaret M. Clausen, of New Cross School of Art. for her " accurate, firm and intelligent drawings of hands." Bronze Medals to Dorothy W. Pratt and Averne Pease (same school) for "drawing? which, in their degree, possess the same qualities." Silver Medals to Mary F. Booth, of Liverpool (Mount Street) School of Art, and Sally G. Ashworth, of Manchester (Cavendish Street) School of Art, " whose drawings are executed in a manner highly commended as being well suited to express all that is necessary without the waste of time which is entailed in executing dark, heavy and stippled drawings"; to Mary Harvey Woodhouse, of York (St. Leonard's Place) School of Art, "equally meritorious, though not executed in quite such an agreeable manner; the delicate rendering of light and shade is most commendable"; to William F. Peddie, of Paisley (Technical School) Art Class, for "a careful study showing great breadth of treatment and well-preserved accuracy of drawing and modelling in the details "; to Walter Potts, of Hyde School of Art, for " a very meritorious study."
The continuation of "The Art of Bookbinding," by Miss E. de Rheims, is unavoidably held over until next month.
Gold Medal princess of Wales' Second Scholarship
Peacock Panel of Painted Tiles. By Rosalind Fouracres, of the Plymouth (Technical School) School of Art. (See page 232.)
Church Decoration: Gold Medal.
Portion of a Stencil Design. By John Potter, of the Derby School of Art.
Stencilled Frieze for Church Decoration. By John Potter, of the Derby School of Art. Gold Medal.
Embossed Book-cover for a Litany. By Ester E. Tatlow. Bronze Medal.
Lady's Work-box in Cut and Embossed Leather. Silver Medal.
Designed and executed by Florence S. Hornblower, of the Camberwell School of Art
The National Art Competition, 1904.
Modelled Designs for Mirror and Hair-brush. Bronze Medal.
By Ellen S. Dutson, of the Hereford School of Art.
To be executed in Beaten Silver. 240
The National Art Competition, 1904.
Wall Fountain in Green Glazed Pottery. Gold Medal.
By Charles Vyse, of the Hanley School of Art
The National Art Competition, 1904.
"Painting" and "Literature." Part of the Decoration of a Vase. Silver Medal.
Designed and executed by Edward Luts, of the Hanley School of Art
The National Art Competition, 1904.
Section of the Plaque.
Enlarged Detail of the Design: The Outline in slip.
By Beatrice Lambert, of the Hanley School of Art.
[ Further illustrations of the Awards will be given next month.]
Charcoal Study By J. Carroll Beckwith.