Studio: international art (3.1894)

A Studio of Design

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and'studied by not merely the head of the studio,
but others who are technically expert in their
various specialities, there is less chance of unprac-
tical details creeping in. I have designed and
know the requirements of almost every fabric, yet,
to give an instance, it must often happen that a
designer who has devoted his attention to wall-

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a cretonne design

a fuchsia design the silver studio

" But why do you consider that a studio is
better able to accomplish this than individual
designers, each working for himself?"

" For several reasons. Apart from the saving of papers, who was trained for that special industry,
mechanical labour, in having commissions executed has a good idea for carpets that he cannot carry
and despatched under one roof, there is a far more out perfectly owing to the want of mastery of his
important reason. When all designs are criticised material. Then, again, the man who has a dis-
tinct gift for beautiful design and can
create lovely forms and well-balanced
repeating patterns, often lacks an eye
for colour. So he employs a formula
rather than the special combination
which one trained to colour sees at
once to be needful for the completion
of the design. Thus the individual
artist is freer to sketch out a scheme
that he knows will be put into prac-
tical shape, before he expends the
labour (often a question of days, some-
times of weeks) to produce the finished
coloured cartoon. This is good in
many ways ; it is annoying to a manu-
facturer to find a design, attractive
enough at first sight, hopelessly un-
practical on further inspection. He
either returns it to the artist, or has it
mechanically corrected by his own
craftsmen, with a result that is not
likely to satisfy the artist, and entails
much expense and worry on the manu-
a Japanese leather paper the 1' silver studio facturer. Many merchants would not

118".