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Page 18 text:
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Individual expression in form, action and proportion by these three-dimensional draughtsmen. WA Y ou lean over the balcony taking a bird’s eye view of your latest masterpiece. After dabbing a little more clay here and there, you round the contours into a smooth, pleasing profile and compare the sketch with the model. A few more refinements: measure and pat the clay down, model it with your finger tips, and beam with pride as the form takes shape. You stand back in bright self- confidence while Mr. Raemisch comments on your work. An hour later you begin again, “and this time it will be a good one!”
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Page 17 text:
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Cntiei ASSIGNMENT Webster says, “To provide with pictures or designs for elucidation or adornment”. To so do, you move from idea to deadline, from visu- alization to revisualization . .. to thumbnails and more thumbnails. When is a sketch a sketch? Corrections .. . tissue overlays . . . did you powder your acetate? One eighth for bleed .. . is it provocative, and does it tell a story? Will it reproduce? Does it decorate the page? Ore OL. OL's c+ ELVETY week a deadline, every illus- tration a collection of de- cisions to iron out with di- rectional guidance. Thank you Mr. Webster, thank you Mr. Stein. - Wa ce
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Page 19 text:
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Designed for beauty, sight or touch... masterpieces in clay. 4 inne A busy beehive of people spinning clay on a wheel... You’ve watched them through the windows many times as you climbed College Hill. All man- ner of shapes and sizes appear in the work which is displayed on the window sills and shelves. The craftsman with his clay- covered hands seems far re- moved from these colorful ob- jects which you see. Now you are on the inside looking out; white with plaster dust, grimy with clay, but exuberantly —a potter.
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