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4-23-1979
Decoration and Form Holly Jones
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APPROVALS Advisor:
Hobart Cowles
~------
Date:
/t2:;z!& /U{l
Graduate Academic
~~~~~!!nta ti ve : __F _r_e_d__M_e.. .y:~e_r____ Da t e : _ _-+.:L_·"?~: " "' :;.~ ;.; ZOo-'."-i t:£ 'W4. ~d---...::;:5+~---,/'-,? ,L~ l- 1-+1 Dean, College of Fine & Applied Arts:
Date:
Dr. Ra bert H. Ja h ns t on Ph . D Dea n
IO/fIL'liJ
.f
(~)
I, Holly Jones , hereby (grant, deny) permission to the Wallace Memorial Library, of R.l.T., to reproduce my thesis in whole or in part. Any reproduction will not be for commercial use or profit.
Rochester Institute
A Thesis The
Submitted
College
in
of
to
Fine
the
and
Candidacy for
Technology
of
Faculty
Applied
the Degree
MASTER OF FINE ARTS
Decoration
and
Form
By
Holly
Date:
April
Jones
23, 1979
of
Arts
of
DEDICATION
To my
mother
for her understanding
To my father for his To
Steve
for his
support
patience
ACKNOWLEDGMENTS
My
sincere
thanks
Hobart
Cowles
Robert
Schmitz
Tobi Miller
Penny Fleming
Mary
Roehm
Judith Stiles
to:
TABLE
OF CONTENTS page
i
Acknowledgments
List
of
Illustrations
ii
Introduction
1
Form
and
Space
1
Form
and
Visual
Form
and
Fabrication
Stimulus
2
4
Conclusion?
10
Footnotes
12
Selected Bibliography
13
Appendix
-
Materials
14
LIST
OF
ILLUSTRATIONS
Plate
I
.
Branches
Plate
II
.
Branches
(positive Kodalith)
Plate
Ill
Branches
(negative Kodalith)
Plate
IV
.
Fern
Plate
V
.
Fern
(positive Kodalith)
Plate
VI
.
Fern
(negative Kodalith)
Plate
VII
Fence
Plate
VIII
Car Grille
Plate
IX
Shell
Plate X
.
Sea
.
Structure
Spray
Plate
XI
Plate
XII
Bone
Plate
XIII
Sea Urchin
Plate
XIV
Spokes
Plate
XV
Plate
XVI
Ribs
Plate
XVII
Crossbones
Plate
XVIII
Sand Dollar
Plate
XIX
Rochester
Plate
XX
Plate
XXI
Victorian
.
Sternum Complex
.
and
Winter in April
Rib-Caged
.
Sea-quence
Color Black
Arch
Photography by Suzi
White
Romanik
Photography by Holly Jones 11
INTRODUCTION "Where
I was born and where and how I have lived is unimportant. It is what I have done with where I have been that should be of interest."! Georgia O'Keefe
tion
The
purpose
and
form.
Using
slip,
I
cipal
technique
tive
and
negative
of
body
decorative
deals
work
my
space;
exterior
and
clay
correlate
and
decora
casting
forms,
my
prin-
hand building.
being
content
to
is
white
a
twelve
constructed
The
volume
my thesis
of
the
linking
in
shape
both the
with
the
of
relation
to
posi
inner
the
environ
ment.
FORM AND SPACE " .
.
.
an
Visually things are not located in independently existing space; space, .
is
rather,
a
that
things,
or
quality has
no
relationship
existence
of
without
them. "2
The
space
requires,
utilize
sense
both his
the
by
space
space
with
In many viewer-
of
of
the
my
form,
the
my forms
is
viewer
that
and
of
form becomes
immediate
is the
and
to
encouraged
form.
In
utilitarian
this in
its
environment.
pieces
and
Rockburne
The
investigation.
interaction
the
created
Dorothea
I
use
environment
mirrors
to
internalize
relationships.
The
is
viewer
confronted
ship in the and
is
to
a
Here
important;
most
through
the
literal
is
look
we
personal
the
of
purpose
which
relation
space
viewer/form
in his
not
This
The
his
and
piece
it.
private.
window
beyond.
space
his
as
act
to
environment
contemplation
the
with
mirror
into
a
is
relationship
in
but
reflection
interpretation.
FORM "The
AND VISUAL
feel
me
in is
thing
unexplainable
makes
STIMULUS
the
world
that
nature
far
big
beyond my understanding to under stand maybe by trying to put it into form. To find the feeling of infinity on the horizon line or just over the next hill. "3 -
Georgia O'Keefe
Of
forms
extreme
is
things
I
what
in my
in my
aids
tion does
strike
my
I
the
did
not
the
set
fact
The
development
unconscious.
I
of
have
it
various
to
recreate
that
my
sea
these
forms,
developed
a
are
the
be
"Inspira
grids
life what
on
I
objects
was
my
develops."
everything from
of
out
These
forms.
of
of
found to
have
lightening,
echo
remains
I
pursuit
like
my forms
environment.
lated and
of
to
sidewalk
beach.
not
development
stimulus."
which
environment
inspirational
Many
"visual
call
the
to
importance
both
in
a
the
found in stimu
conscious
particular
way
of
in my
seeing things
environment
deliberate
parallels,
hours
the
beach.
These
influences
Cape
on
hope
can
are
objects
the
in
continue
their
to
led
I
Cod,
spent
found
curiously studying treasures
scious
I
has
not.
or
Having been brought up numerous
which
with
now
as
surfacing
uncon
development
of
my forms.
the
of
my
naivete
on
I
childhood
0
to unintentionally For the the
two
past
opportunity to
pertinent
The
is
I
environment.
find
I beach
closeups
common
elements
of
ments.
I
space, We
the am
are
all
in
aid
in
white
has
which
of
rolls
I
become
of
have
I
had
become
forms.
my to
learning
which
they
see
my
both
film,
concentrate
on
abstractions
of
space.
whether
an
R.I.T.
at
development
I
pick
film dedicated to
roll
of
grilles,
that
everything I
which
the
on
surface
seem
compositions
contrasting
I
the
on
something up
entire
looking beyond;
creating
curiosity hand
car
of
because
and
that
shoot
or
and
lines
textures,
the
numerous
closely that
so
objects
to
shoot
black
and
color
here
years
invaluable
an
shore.
study photography
especially camera
the
search
see
pure
see
has
unrelated
and
environ
forms
in
space.
by
develops
in hand in the
nature
so
curious
does
pursuit
individuals
inspiration. of
form.
The
.
two
As
go
FORM AND FABRICATION "The
the the
bones,
there
slabs,
from my
are
the
In
flux,
choice.
laid inside
there
the
slab
A
freshly
a
shallow, to
slab
for this
purpose.
for
in
ease
trailed
slip
Ready the
piece,
relish, with
to
Sufficient
the piece,
trail
the
slip
type
catsup
plastic
casting slip
first
the
around
proceeding
to
create
Standing back I
into
then
most
rim
as
Stop
here'.
well
It
in
as
was
a
the
good
of
witnessed
used
rim
delicate
the
of
mirror.
areas
of
(mustard,
bottle
the
of
for the
department and
cut-out
stores)
begin
areas,
structures.
the
where
slip
the
needed
areas
slip
interior trailed idea but
was
cut-out
interior
drying rapidly causing cracking slab
knife
(see appendix)
edges
the
the
involved
interior
the
condiment
found in
-
house
and
mold
left
support
later to
fill my
is
area
of
then
was
step
the
fettling
and
commercial
trail
then
I
A
areas,
to
slab
next
from
cut
diameters
the
to
The
shapes
mold.
handling
accurately
circular
contour.
the
and
bowl-shaped bisque
its
in
while
roller
rolled
selectively cutting away the
silica,
white -earthenware
were
templates
masonite
firmly
hard
protecting glaze, as blood and skin of a pot, and indeed many human associations. "5
on
circular
the
of
the
beginning
rolled
pressed
speaks
potter
softer
to
met
areas.
be
the
Realizing
revised!
from the slip
too
began
intense
long,
a
began
I
convex
Bibliography"
with
plaster
plaster
Cast
Slip
a
there
bisque
two
are
Pottery
"Plaster Mold
Stanley
Skee
"intense"
types
about
United States I
material
Plaster grade
called
does
not
yield
The plaster
the
plaster,
If
information
indicated
not
as
was
best
"Molding mix
readily,
a
surface.
nice
bisque;
discovered
which
the
began proved
drying
that
once
to
time
dusting
"Molded best
that
of
talc
and
Cherney is
one
concerning
less
more
the
into
be
The
Pottery A lesser in
durable,
the
time
being mold
a
and
pinch
does
with
successful
slip
plaster
from the
used
this
and
real
purposes.
again, be
book
"USG
and
source.
appendix).
could
is
dealing
ohtained
for my
Plaster"
as
procedure
mold
suited
"Selected
Charles
by
Company (see
Gypsum
from my
one-piece
both Cowley's
informative.
researched
#1"
but
is
mixing techniques may be
and
a
the
Making"
us.
books
excellent
Ceramics,"
both
are
In my
mold.
book,
Model
and
So
concavity from the
David Cowley's
and
water
plaster.
molds
For making
making.
mold,
to
press
plaster
for mixing the plaster,
As
I
the
of
mold
press
plaster
the
absorbed
relationship between
creating
surface
mold
turned
I
rapidly,
by making
bisque molds,
bisque
the
the
than
slower.
with
the
excess
wiped
the
Following I
mold, set
was
away,
once
excellent
an
agent.
releasing
bisque
the
same
steps
as
with
again
stood
back waiting for the
piece
the
nicely
previously
to
up.
A cup with
no
tea
of
when
and
could
cracking did
filled
be
from the
removed
There
is
piece
from the
no
the
studio
has
been be
the
slow
due
a
a
method
is
not
times
the
slip,
it that
own
on
is
was
minimal
was
piece
the
essence.
the
release
the
atmosphere
humid,
day,
the
or
releasing
inability to
plaster's
its
the of
Much depends If
it
piece,
timing
of
however,
constant,
slip befoxre
mold.
to
in
Time
several
used
not
drying
was
piece
occur
mold.
mold.
and
was
with
accurate
from the
water
This
cracking.
but
will
later,
moisture
a
of
in
mold
time absorb
content
being
to
every
high. Of
course, the
If
coin!
time,
it
absorbs
or
using
it.
foreign
a
1:2
aids
sat
dry
and
will
from the the
keeps which
of
the would
s
cause
to
surface
rapid
the
period
cracking
with
of
as
I either
before
water
clean
inhibit
a
rapidly.
interior
vinegar
in slowing down
for
too
slip
mold'
sides
idle
has
solution
This
matter
and
sponge
two
mold
too
water
lightly
water
tion
the
always
are
plaster
it may be
of
always
there
any clay
mold'
s
absorp
absorption.
or
7
When
a
is
piece
interior trailed
fettling
knife
exterior
rim
piece
the
bisque
to
the
Feeling
different.
Three
three
colors
Rutile
-
-\
Yellow Iron volume
colored
slip,
then
areas
convex
side
the of
for
trailed
the
were
outer
formed
used
"Sea
tsp.
:
tsp
edge
by
to
bat,
tsp. yield
and
white
the
ratios
the
onto
colored
talced
a
potter's
a
color
disc
ceasing to
trail
(liquid)
slip one
to
cup
of
the
slips
Each
slowly
formed. the
were
color
plaster
wheel.
was
was
(liquid)
slip
pestle.
containers.
the
until
tsp.
colorant
mortar
the
2
2
:
dry
Spray,"
on
measure,
1/8
separately
the
with
(liquid)
1/8
a
slightly
along a
experi
entitled,
slip
condiment
the
as
piece
also
increased
with
slowly of
was
I
whim,
tsp. -
-
a
for the
adding the
various
center
toward
the
follows:
as
2
:
was
mixing
revolved
the
or
underneath
plastic
purswe
were
were
Oxide
each,
fabricate
into
to
slip
Oxide
these
of
slip
To
at
under
teaspoons
tsp.
Green Nickel
which
the
over
slowly
tool
Carefully lifting
release.
placed
the
nudge
wooden
scraper
metal
colors
for the
was
pointed
Fabrication here
Using
placed
a
necessity
slip.
liquid
with
a
dry
casting
The
then gently
coloring the
with
Spray."
"Sea
then
to
mold
I
days.
several
mented
run
assure
is
it
out,
areas
and
up
set
slip
bat
Starting squeezed
Open at
8
bats,
eral
release, aid
its
cut
in
slightly bent
half,
slip
directly
on
a
kiln
are
The
to
j.n
ease
each
was
piece
clay to
the
flexible
still
disc.
ready for
and
underneath
joined
and
for
shelf
set
sev
onto
form the
to
each
run
form.
creating the
repeated
slightly
discs
The
release.
for
was
scraper
metal
a
were
pieces
was
process
color
one
using
When the
with
The
intervals.
random
and
are
other
constructed
handling
and
firing. the
All
than
perature
03 depending ences
that
on
between
the
of
form in the
to
as
an
with
the
water
(more)
if
bisque
directly
accent.
CCTS
Clear,
"Jet
pieces
the
is
On
in
of
(less)
and
the
of
areas
repaired
and
pieces,
glaze
areas
is
was
stain
the
of
fired
which
or
differ
trailed
several
glaze
were
04
cone
the
slip
the
(K60)
to
distortion
some
recessed
formula
the
higher tem
a
of
cracked
Black"
the
of
occurs
firing.
into
All
there
had been
they
Ceramics'
Because
content
This
at
I bisque
firing.
patience.
firing.
the
Standard sponged
glaze
my
clay
particularly prior
the
fired
bisque
were
pieces
to
in
bisque
cone
06
the
appendix.
And
now
apply luster
best
to
will
take
over.
for the
I
on
the
phenomenon
over
a
shiny,
characteristic
purchased
of
my lusters
of
"Lusters."
fired the
It
glaze
glaze
as
they
is
they are
from Standard Ceramics
(see appendix), using the well
as
copper,
turquoise. cation
firing
and
have
in
read
lusters
for two
"Cleanliness"
it
follow.
I
with
cleaned
are
Clean
and
luster
Using
luster, over
one
the
both the cation
over
important
is
and
vents
both
pamphlet
to
any I
with
of
kept
under
cover
and
be
to
used
rubbing before
plastic
firing.
brush for
each
next
to
another,
never
procedure
is
the
with
laid
lusters.
colored
the
with
the
until
off
brushes
saturated
rule
steadfast
table
soft-bristled
is
a
pieces
vVhen
kept
are
same
the
covered
appli
to
dry
night.
"Ventilation"
It
are
This
and
finished,
appli
Company (see
superior
is
and
pieces
stroke
metallic
the
clean
application
thin
a
struggled
This
balls,
pieces
preceeding.
is
I
the
separate
a
I
in.
reaching any kind
gospel.
cotton
alcohol.
after
is
Then
by
the
outcome.
First
paper.
texts.
before
years
Hanovia
information
ceramic
most
consistency in their
which
from the
this
found
I
and
green
described
is
and
platinum
gold,
lusters,
colored
lusters
of
obtained
appendix).
tallies,
information concerning
Excellent
may be
which
the
as
me
door
metallic
firing
is
done
is
to
stack
open
and
the
the
during
colored
slowly
kiln
most
of
lusters
beginning
the
of
gospel
firing
loosely the
to
with
and
process.
firing.
cone
the
I
018. kiln
the
keep
fire
The on
low,
10
the
The kiln then is
to
two
is
vent
one
hour,
about
for
this
state
vent
is
closed,
vent
One
the
door
and
door
to
kiln
the
and
kiln
approxi
is
this
in
remains
door
after
cracked
the
later,
cracked
the
which
after
hour,
one
the
hour
the
again,
four inches.
remaining open,
medium.
open
remaining
cracked
in
Once
inch.
one
for
state
to
high
to
switched
mately
its
switched
door
door's
the
inches,
kiln is
left
top (roof)
the
which
the
and
open
vents
closed,
until
the
cone
drops.
When
the
kiln
is
off
temperature
has
been reached,
immediately
the
remaining
is
vent
shut
and
closed.
CONCLUSION?
"...
but
speak
-
I
cannot
I
so
yet
make
Georgia
no
to
in
seek
relation
to
and
needs
change, should
an
but
should
to
I
as
its
feel
....
of
life
be
to
these
attuned
I believe
that
that
para
I
from
I is
avoid
negative
"Movement Situations
change;
and
in
am
this
solutions.
development. continue
this
connotation
conditions
artist
begin
continuing
further
because
artistic
forms
ideas
As
develop
"conclude"
word
worker
and
clay
O'Keefe
me
conclusion..."
ending my pursuit,
way
point
the
"In
with
graph
for
inappropriate
is
It
the
on. "6
keep
must
in
change,
the
clay-
7
changes."'
one
should
never
be
11 satisfied
with
the
improve
and
This
direction;
is
continuum.
develop
end
a
product, concept
upon
which
but
toward
ideas
should
a
continue
better
develop
in
to
solution.
12
FOOTNOTES
Georgia
O'Keefe, Georgia Viking Press, 1976), p.l. 2
Bernice Rose, Modem Art, 1976),
^Georgia,
Drawing
(New York:
O'Keefe
Now
(New York:
Museum
O'Keefe,
185.
The
of
pTFTT
O'Keefe,
Georgia
p.
4
Leon I. Nigrosh, Claywork: Form and Idea in Ceramic Design (Worcester, Ma.: Davis Publications, 1975), p. 96. Paulus
(New York:
Berensohn-
Simon
and
Finding One's Way with Clay Schuster, 1972), p. 15.
r
Georgia
7
O'Keefe,
Leon I. Nigrosh, Ceramic Design, p. 96.
Georgia
O'Keefe,
Claywork:
Form
p.
and
207. Idea
in
13
SELECTED
Berensohn, York:
Chaney,
BIBLIOGRAPHY
Paulus. Finding One's Way Simon and Schuster, 1972.
Charles
and
Model Making.
with
Clay.
New
Plaster Mold and Stanley. New York: VanNostrand Reinhold
Skee,
Co., 1973. David. Ceramics. 197B":
Molded and Slip Cast Pottery New York: Charles Scribner's
Cowley,
Nigrosh,
Leon
Design. 1975.
Claywork: Form Worcester, Ma.: I.
O'Keefe, Georgia. Viking Press Rose,
and
Davis*
,
Georgia O'Keefe. 1976.
Bernice. Drawing Now. Modern Art, 1976.
and
Sons,
Idea in Ceramic Publications , Inc.,
New York:
New York:
Museum
The
of
14
APPENDIX
-
MATERIALS
15
Clay:
Bob
Palusky
(#6 tile
Kaolin Ball
or
21
EPK)
Clay (0M#4)
Neph. Talc
Earthenware
White
-
Syen.
(New York)
35
Bisque
04
10
Glaze
06
50
Bentonite
4 120
*
if
possible
Seeley's
White Velvet
06-02
Seeley's
Ceramic
age
month
good
a
Slip:
Casting
Inc.
Service,
9 River Street N.Y.
Oneonta, locally
13820 Craft
University
-
Service
Rochester
University Avenue, (a
about
note
forms
are
linear
the
pieces
built
slab
sections
trailing slip into Glaze CCTS
a
The
structures
main
from the the
are
-
Earthenware.
White
casting slip
plaster
press
of
applied
the The
by
mold).
:
Bright
Transparent grams
*Frit
3396
15
Frit
G-14
45
oxidation
lead
safe
06-04
25
Kaolin
15
Flint
100
*
may possibly may be
no
substitute
longer
Frit
manufactured
G24
or
G23
as
Frit
3396
16
Lusters
:
Standard Ceramics Box
P.O.
4435
Pittsburgh, Pa. 15205
locally
Woodside
-
Ceramics
Northfield Commons N.Y.
Pittsford, -
Excellent
information
lusters
of
may be
the
on
application
firing
and
from:
obtained
Hanovia Liquid Gold Engelhard
Industries
Engelhard Minerals
1 West
Central
East Newark, Plaster *
the
most
making
are
cited
Complete and
Corp.
07029
found USG
be
may
States
on
plaster
mold
their
types
from:
obtained
Gypsum
South Wacker Drive
Chicago,
for my
sources
in my bibliography.
methods
mixing
Mirrors
N.J.
information concerning plasters,
101
I
Chemicals
Avenue
complete
United
-
and
-
of
Two
Division
no.l
Illinois
Pottery
60606
Plaster to
be
sufficient
needs.
-
Flower
City
Corner
of
Glass
Co.
Alexander
and
Mt.
Hope
Rochester, N.Y. (Mirrors
Caukling
were
adhered
which
is
to
the
available
pieces
at
most
by Silicone hardware
Rubber
stores).
Plate Branches
m>'
?/'V r
Plate
II
Branches
.
*r V
\
O
\>
V
i
S -X
V .
\
s
>
-->-.
v/
*
^ V v\*
V> \
.
S
V
I
*
I X
v
vv
X
-HC \
V ^
..
**"
WrZ
Plate
III
Branches
Plate Fern
IV
->
* r
Plate V
Fern
Plate Fern
VI
Plate
Fence
VII
Plate
Car
VIII
Grille
Plate
IX
Shell
Structure
9"h
9|"w
x
Plate
X
Sea Spray 9"h
x
12t"w
Plate XIII Sea Urchin 12"
diameter
Plate XIV okes
S~hu
diameter
Plate
XV
Sternum Complex 9g"
diameter
Plate
XVI
Ribs "iameter
IP
Plate XVII Cross 16-g-"
Plate Sand
1
9-g- "
Bones
diameter
XVIII Dollar
diameter
Plate
XIX
Rochester Winter in April 19a"
diameter
Plate
XX
Rib-Caged
17"
diameter
Plate
XXI
Sea-quence
1
6-4-"
diameter