Rochester Institute of Technology - Techmila / Ramikin Yearbook (Rochester, NY)

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APPLIED ART

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Fred Meyer Joan Meyer Charles Reese Olin Russum Frans Wildenhain John Prip “Basketweaver,” the next member is called, but he is a textile student, not an Indian cross legged on an adobe floor. In his domain an occasional sob may be heard when a thread breaks or when a maze of multiples becomes confused in the middle of price calculations for three yards of material that bears his distinctive patterns. Beautiful fabrics for uphol- stery, draperies, or tablewear arc taken off the looms with pride and relief. The mudslinger” in his pot-shop uses his tempered ner- ves to wedge clay, mix glazes, and throw” pots (at times, literally). But this third member of the family often enough grins through his smudgy face when the kiln brings perma- nence to the slinger's hand-wrought clayey vision. The last member of the family is the metal worker or “tin bender,” who may be found in his noisy shop, where he lustily whacks his medium into shiny, balanced new shapes. Then he holds in his skilled hands a glistening, highly- polished, three-dimensional design. Once a year with bags, boxes and long train tickets the journeymen of this family head toward New York. There they see other craftsmen and their products of design w hieh the journeymen compare with their own contempo- rary craftsmanship. From eight to five each day this mighty little S.A.C. family, R.l.T.’s newest, shapes its future with enthusiastic skill. We acknowledge their contributions to modern design. Winding on the ways Fitting in woodworking Fourteen Throwing a piece on the wheel Attaching handles to ceramics

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Clifford M. Ulp Frieda S. Rau Figure painting in oils We peer at slides through tired Monday morning eyes in a darkened History of Art class, sit up ’til midnight, finishing a design plate only to find that we have just spilled water on the tempera background, rush madly to fill up sketch books the evening before they are due, gaze in awe at the current art exhibit, wondering if we will do that some day. We wait with tense expectation on the first day we draw from a live model, patiently shape a ceramic pot on the wheel and watch de- jectedly as our creation flops and collapses into a formless mass of clay, sizzle with pride when our work is in a student exhibition. We know the sharp odor of oil paint and turpentine, the weary design class plodding home after a trip to the museum, our complete density on color theory, wondering if that guy Munsell understood it himself, the friendly controversies that give us a chance to sound off about modern and traditional forms of art. We struggle with jars, pots, baskets and drapes trying to compose a set-up that satisfies everyone, juggle ruler, T-square, triangle, and drawing board, turning out complicated perspective drawings, fuss and fidget as our lettering masterpiece goes under the scrutinizing eyes of our instructor, impatiently wait for the locked door down in the basement to be opened and reveal our latest ceramic marvels. Trimming a pot in the jigger Sixteen