Clifton High School - Rotunda Yearbook (Clifton, NJ)

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APPLIED ART “Many have eyes, but few see and understand.” Hence it is that we have a multitude of people who go through life with the impression that art is a subject remote from their interest; a study for only a special few; and even many who do feel an appreciation for it have the idea that art is very far removed from their personal capacity. But therein lies a misconception; for art is everywhere around us, can be introduced into all the walks of life and among all the classes of people. When the knowledge of the fundamental principles and rules of art are taught for practical use in every day things we employ the term “Applied Art.” In an “Applied Art” school one learns the basic colors, the combinations by which other colors are obtained, the colors in a graduated scale, and the colors which may be used together and how to use them harmoniously and artistically. Such knowledge will serve one well when problems of choosing house draperies, rugs, wall paper and other things arise. Clashing, or poorly selected colors are disquieting to the sight and it has often happened that poor work has resulted when performed in unharmonious surroundings; whereas good work was obtained when the same person performed it in carefully selected surroundings. Many judgments of character depend upon the taste shown in se- lecting colors. In clothing, flashing colors used with no moderation are a reflection of poor taste. We find many ways in which good taste, developed by a basic knowledge of colors, shows itself of much importance. When a man is choosing the paint for his house he would be doing well if he had developed good taste. The color of a house cannot be changed on the spur of the moment’s whim, and its relation to its surroundings, if harmonious or otherwise, does much to improve upon or detract from, the appearance of the neighborhood. Other details besides knowledge of color may be learned which one will find of practical, home value. Arrangement of objects in order to obtain a more pleasing effect is another of the fundamentals. When placing furniture in the new house, this knowledge of arrangement will help in securing an attractive and homelike atmosphere. Then, there are the rules of balance and of margin which one can apply every day. For example, in mounting pictures, there are certain rules pertaining to the margins which make a difference in the appear- ance of the picture as it hangs on the wall. Often people notice some- thing odd in the aspect of a picture but do not quite understand what it is. Someone who does will immediately surprise them by correcting the margin widths, thus changing the appearance of the picture. nine

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WHEN I WAS TOO TALKATIVE At college I had formed the opinion that nothing was of greater importance than football. I studied football, spoke nothing but foot- ball, dreamed, played and ate football. When I left college, I still adhered to this opinion and became the most enthusiastic football fan that ever honored the face of this merry old football field, the world. In fact it was my habit of talking of football that had a great deal to do with my present good fortune. On the day of the Yale-Harvard game I was sitting in the west-side stands of the Yale bowl. I was talking, as is my habit, to a man on my left. I described vividly many of the plays that I had taken part in and gave no little credit to myself. (I was never modest.) Somehow or other I began talking to the man on my left about the playing of the Harvard team on that long-to-be-remembered day. “Why, sir,” I said, “That was the toughest, roughest, cleanest played game that I ever took part in. There was a fellow on the Harvard team, I think his name was Landon, who could give as much as he took, and my word, he did take a great deal. He played tackle opposite me and gave me the hardest, toughest, all around rough and tumble scrap that I have ever participated in. I’d like to meet that man now. We’d have the longest confab that we’ve ever been in.” “I remember that game,” said the man on my left. “Landon’s work- ing for the United Motor Sales Co.—manager, I think.” “That fellow certainly does deserve what he gets. I am sure that he worked hard for all he got. Why, man, I wouldn’t mind working for him. If he’s as good a business man as he was a football player, he must be a wonder,” I replied. “Do you mean what you say?” he asked. “Now look here, stranger,” I replied angrily, “Don’t you call me a liar if you want to live in peace. When I say a thing, I mean it.” At this he smiled and said, “I think I can offer you a job as sales manager of the United Motor Sales Co.” I looked at him in astonishment and could scarcely utter the words, “Who are you, anyhow?” “Why,” he said, “My name’s Landon. Played tackle opposite you twelve years ago. You gave me twenty bumps and I gave you nineteen. If you accept I’m going to make it twenty all.” Edward Hollender, June, 1922. eight

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So it is that when one studies just a little bit of art one begins to realize that it is not a far off subject; rather, it can be brought right home to us. It introduces itself into our own personal possessions, invades our houses and yards, and greets us where we walk if we who have eyes but to see and understand. ISABELL BUCKWELL, Class of 1921. ¥ ¥ Inquiries into the Nature of an Optimist What is an optimist? Many people have an idea that they can answer that question, and yet very few answers agree. Usually our conception of an optimist is the one, seen every day, who says, “Oh, forget it, it’s all right,” or “Don’t worry, cheer up,” or “Remember, the worst is yet to come,” or some other worn-out expression of ag- gravating age; but is that conception correct? Is an optimist one who comforts by comparing the present seemingly bad conditions with the worst troubles that might be, who inspires a feeble feeling of encour- agement by cracking some aged joke, or who consoles you with the thought that you may be luckier “next time?” Far from it. Webster states, as his definition of an optimist, “One who believes that all things are for the good,” and this is a true thought, which, if carried con- tinually, will soon have its effect. By this line of thought, one will continually expand, be strengthened, and will learn to grow and profit by failures. Instead of thinking, “I can’t,” he will consider, “Why”— will try to figure out the causes of the failures, and will finally come to see that it is his own fault, his negligence, his inefficiency, or his inability. He will not wish, or hope, that “next time” he may do better, but by finding out the cause of the mistakes, will remedy them and thus strengthen himself mentally and physically. He will not go to his work with the disheartening thought, “I can’t,” but with the never- defeated feeling, the confidence and trust, that “It rests with me; I can try and shall succeed.” He who has faith in himself, and his methods, but has not over confidence; that man who strives honestly and gains a little each day; who profits by mistakes and knows it; who looks ahead, at brighter conditions; and never dwells in the depths of despair; he is the successful man; he is an Optimist. H. C. B„ ’23. ten