Porringer c. 1939

Editor: So, we’re looking at Eugene Barrell's "Porringer" from around 1939. It’s a pencil drawing on paper. What strikes me is the technicality of it. It feels less like an artistic rendering and more like an architect’s blueprint, especially with those little measurement diagrams. What do you make of that? Curator: I see a clear demonstration of how drawing serves as a crucial labor-intensive element of industrial design and manufacture. Barrell gives prominence to what one could term a ‘functional aesthetic.’ Editor: Functional aesthetic? Could you expand on that idea? Curator: Of course. This isn't just about prettifying something. It reveals an intention, an almost craftsman-like approach that celebrates form directly following function. Look at how clearly the materiality of the proposed metal is articulated. It’s meant for practical use, for consumption. Is that the impression you get? Editor: I do. The details are almost obsessively rendered. I didn’t think of consumption initially, though. It just seemed antique. Curator: Right. The design has an historical awareness as well as practical intent. But think of the production process. This drawing is the first step toward creating an object for eventual market use. It highlights a shift from purely aesthetic concerns to the role design and even labor play in crafting these pieces. It bridges fine art and functional craft, what do you think? Editor: It never occurred to me how much planning, down to the exact size of the handle, is a real, artistic and manual process. Now, the drawing appears very differently than it did before! Thanks for pointing that out. Curator: My pleasure, every mark is telling a story, from intention to labor. It also tells of the story that has been passed to me and now shared with you.