Documente Academic
Documente Profesional
Documente Cultură
SAGE
ENDOWMENT
THB GIFT OF
1891
arV18115
Theory of design
,.
olin.anx
W^M
I'I'IVI
THEORY OF DESIGN
I'i;
LUCAS BAKER
IN
ILLUSTRATED
Copyright, 1883, by
IVISON,
""'"'
CONTENTS.
.......
Invention
PAGE
62
63
Contrast
64
Unity
69
Diversity in Unity
75
Construction
79
Application of Design
84
Floor-Coverings
88
Wall-Papers
Hints to Teachers
95
Methods of
90
Criticism
98
Color
Helmholtz Table
Other Qualities of Color
Conclusion
Designs for Illustration
Plant-Forms for the Elements of Design
103
105
107
109
111-175
....
177-247
Leaf-Forms, 181; Pansy, 183; Sweet Pea, 185; Agrimony, 187; Kalmia, 189; Chinese
Primrose, 191; Deutzia, Little Primrose, Portulaca, 193; Apple, 195; Chelidonium
majus, 197
Petunia, 201
AcroUnium, 207
Mimulus
ringens, 203
Mitchella
209; Convolvulus, 211; Lily of the Valley, Forget-me-not, 213; Snowdrop, Star of
Geranium, 237
Symphytum, 231;
239; Silena, Verbena, Chorozema, 241; Colosseum Ivy, Fuchsia, 243; Buttercup,
Ivy, 245
ir)fp00.ucf
UC110]
,0R
the
public
schools
many
of
It
met the
of all
difficulties
and
wisdom
of
those
who have
charge.
in
of
new
enterprises
it
has had
had to be educated
an element
in
and benefits
in the uses
education and
as
and,
as a
of
in
hobby
more frequent
factor
drawing, both as
the industrial
;
still, it
sometimes
has
it
has
arts.
it
In some
INTRODUCTION.
6
taste has
this
work has been shown which argues well for the future of industrial
America.
art in
public schools
making the
there
is
America
The
not one
creditable design
art of
It
trial.
in their
present work
some
of the
of the
methods
a class of
skill,
fifty pupils,
is
in
of criticism.
of
If
of design
effort,
he
and
will
Theory of
Design.
AND BEAUTY.
UTILITY
The
"
is
taste."
creation of beauty
is art."
Emerson.
jHERE
is
a general
We
beautiful.
demand
for that
which
accounted
is
"
it.
of
same author
useful
says,
world,
men
evident, that,
principles of beauty,
objects
useful
man
in the
unsatisfied.
most
served,
All
It
"The most
the
in
Again the
so
would remain
life
we
it
desire,
if
it
were easy to
would not be so
by following them.
set
to every thing of
down
diflScult
to
life.
categorically the
make
beautiful
to
to
THEORY OF DESIGN.
defined.
Many
whether
it is
bination
the line of
beauty.
and
it
may
be, after
all,
degrees of beauty.
It is evident,
We
results with
ideas, distinct
principles
any degree
we can
proceed, in order to
of certainty.
much upon
a variety of
in a simple
we must
useful,
To
principles
of
beauty,
method
of
the fundamental
We
distribution
"Beauty," says Emerson, "is the form under which intellect prefers to
We
it
it
demands
imposes upon
us.
in
of the
the beautiful, so as to
mind with
fulfill
<
the con-
[HE
ultimate art
principle
Beauty
of the beautiful.
we
love.
is
is
It is
effect.
Beauty
is
the
the
hence
With reference
it
to organic law
it
is
mark God
upon
sets
"Beauty
virtue."
As
Not
all
is
to
be content
human perfection,
create in man the love
of the ideal
so
it
tends to
of the beautiful.
Art
clothes,
is
man
the effort of
and defends
tions, exalts
the mind, as
Utility feeds,
warms,
It
is
the source of
art.
"Ideas of beauty," says Ruskin, "are among the noblest which can
be presented to the human mind, invariably exalting and purifying
it
In nature
utility
that
is,
THEORY OF DESIGN.
10
The
shell
place, but
of the fish is
it
is
of utiHty
in
more
beautiful than
of
is
one
and mosses,
it is
in sunlight
Even
tint or another.
Nature
is
It costs
is
one
her
acts
and beauty
an
is
incidejtt of
She
is
her
utilities.
Nature
and her ornaments are not " applied," but are inherent
activities.
Therefore
we
useful.
when
in- all
all
our
Ii
methods may be
referred,
all
or fancy
But
no end.
law,
which has
subject
is
if,
its
a basis of fundamental
is
and sequence
defined,
of
its
and the
which
subject must
to
and
its
and a system
of just
criticism
may
exist,
varied
yet
few classes
will
head
all
of masses, individual
and concrete.
Under
gardening.
This
THEORY OF DESIGN.
12
again divides
into
itself
two
parts,
forms in the
higher
art,
There
flat.
where questions
and statues
But, as
arise.
is
and
a,
b,
still
of composition
and arrangement
in pictures
all
is
be considered apart.
We
decoration.
For purposes
of ornament, a surface is
There
we come
to the act of
is
supposed to be
arrangement.
is
to
The laws
These laws we
in design
of the follow-
Each
harmonizing of
of
The
all
Hence design
colors
'
is
is
its
movement over
magni-
the design.
design
Or,
13
we may
say that
is
and
all
conveniently expressed
effect
to the eye.
ity of
If,
is
we
like,
it
is
is
it
music
The
qual-
a failure; as
please,
it
As
designs for
it
becomes important
will
efforts,
and can
THEORY OF DESIGN.
14
JT
will
The
by what
question
is
is,
displeased
it
mind.
We
We
by what
then,
Let
vastness, grandeur.
We
us set
down some
of the
of
is
relationship,
like justice
broadness
(or
sys-
breadth),
fitness
and
We
of the
The
where
we do
We
dislike
hollowness,
So
and chaos
disorder, disjointedness,
ness, narrowness,
monotony.
We
and
littleness
do not
in
also
a certain sense.
We
all
dishke
evidence of thoughtlessness,
foolishness, or imbecility.
Now, we
are
all
in
So, too,
we
15
those works of art which show the one class, and in disliking those
class.
in all art
and
relation,
and
place
relation,
Without
qualities.
must have
art
in
No
quality
curve,"
if
mind when
is
and
it,
its
good
left
all
is
without
chaos.
it
that
place
its trtie
sufficient
contrast by opposing
The curve
of itself.
is,
of
value.
it
ever
much
the design
of
may be
in
These ideas
of style,
and the
like,
ideas which
may
way
affecting
the general law of construction as above stated, such as picturesqueness, grotesqueness, surprise, contrast, harmoniousness, oddities, conceits of fashion
ruggedness
lively
and
exciting, or quiet
of
other ideas
and commonplace.
of significant character,
may
forms
para-
These, and
all
THEORY OF DESIGN.
i6
The comprehension
of
these fundamental
laws
design will
of
enable the student to understand the meaning of his work, and give
a broader application to the ever varying fancies of his mind.
All good pictures are wrought out by the distribution, over the surface of the canvas, panel, or paper, of certain related forms, magnitudes, lines,
and
colors.
of qualities to
be harmonized
relationship
effect.
may
them
so that
it
will
eye and
and to
make
combination
is
essential in order to
make
it
possible to
\y
|ET
to
us consider
first
matter of forms or
arrangement
of
members
effect,
We
lines.
distributed
may
produce a harmonious
very large
and very
small,
with
if
no
to
enable the mind to associate them naturally into one family group.
It
would be
notes only.
by any manifest
some way
that
it
supplied.
It
demands a
may be
in
relationship as to magnitudes, so
all
the
members harmoniously
into a unit.
Look
at
for instance.
We
are great differences in the size of the leaves, but that these differ-
we seldom
from a
THEORY OF DESIGN.
We
may
groupings.
more
We
may
quadruples,
and
triples,
differences.
The
the more easily the eye passes from one to the other, and the more
easily the
to
monotony, as seen
at
a (Fig.
i)
Fiff. /.
O,
Q O
\
widely different magnitudes produces a precipitous effect, not unlike
the association of a whole note with a sixteenth, or a very loud note
will at
of the
once be evident.
effect of
magnitudes
these
at b (Fig.
i),
more pleasing
to the eye,
shown
is
at c (Fig.
the magnitudes
in
The
at
many more
last as
continues (Fig.
so that
is
well
Pig. 2.
"
least for
likely to
is
glance at the
of this inherent
mankind
one
civilization itself
if
2).
vitality,
principle
is
in
figure
i).
of the
illustrated
all
19
is
it
to please
now found
in
is cultivated.
group
reached
is
series.
a,
c,
on the
member
of
it
the
over a decreasing
left,
to
b,
there
is
We
The
c.
variableness in form
The compound
The
leaflets
two equal
we
series,- in
which there
arrangement of magni-
will
be found, usually, no
leaves of the
monic series
(Figs. 3, 4).
in har-
THEORY OF DESIGN.
20
Fig. S.
Fiff. 4.
of
harmonic series
ing no interest.
If
this
is
we
law everywhere,
the law of
at least
harmony
we
by our feelings
if
in co-ordinated diversity.
we
not consciously.
It will
all,
still
which
that
there
may be one
harmonic
series.
We
may
in
the
series
midst
of
of
It
be observed
what magnitudes
recognize
But there
may be noted
here,
harmonic magnitudes
another quite
different
entirely independent
of the
may be
2i
all
system of wavelets
The same
other.
fact
apparent in
is
In
the Doric
the
The
There
all
is
a just law of
The
the one hand, and denying a too near approach on the other.
divisions of the frieze
by horizontal bands
in
Greek architecture
is
the moulding, nor the spaces measuring each other by any apparent
proportion.
The human
face
spaces vertically.
is
really
head, the other features are so placed that not one person in ten thou-
sand would notice the fact without having his attention called
indeed, the general impression
is,
among
children,
to
The
This
is
hair takes
it
well,
on account
up about a
quarter of the vertical height of the head from the crown to the chin
is
of the
THEORY OF DESIGN.
22
head, neither the upper nor lower limit of the nose begins on a quarter
division of the vertical height, but reaches about a sixteenth above
the medial
division
line,
down
and, of the space below the nose, the divisions are equally
of the legs
by the
half the
seem
sufficient to
Although
art,
the pro-
The
and distance
of a proposed design
large,
must be considered
should be
used
few or many.
It
that
size,
of
is,
must be
evident that small objects are best seen near, and larger objects
distant, according to the
is
and
more
ornament must be
We
may summarize
this
and harmonic
relations.
(See
p. i6, note.)
)HE
23
FORMS.
That
pany
upon
this basis.
It
is,
life, all
therefore,
to
which the designer must conform, in order that he may secure the
best results.
The mind
is
:
it
matters
little of
always displeasing.
are precisely of the
same character
An
illogical
be entirely unrelated.
like
is
conclusion in-
same
class of
In this particular, as in
its
many
construction.
others, design is
The
effect of the
One
Greek
some other
The
THEORY OF DESIGN.
24
why
these things
brought together.
were
Why
service in the
same
rosette as an
it
most
emblem
fitly
of the
We may
do
to
of
The
rose
made
United Kingdom
it
is
is
an offense
plant should be used in the same design, especially for elementary work
in schools.
rule is necessary.
There
may
and that
is,
The
effect of all
such association
mind
is,
the ensemble
in the
mind.
to
is
The
unit which are put widely apart by a great difference of size, form,
relationship, or source.
RULE OF ASSOCIATION.
We
may
set
down the
style.
Roman
with
own
plant-forms.
best
when
alone.
and
The
it
All mixtures of
its
will
but degrade
and
all
it.
all
where
it
originated
So, also,
of its grace
own
it.
time,
in the coun-
^^
Each
and
admixtures degrade
and are
try
it
plant-
It is perfect in itself,
purity.
own
25
of
THEORY OF DESIGN.
26
POSITION
of
or in
elements.
may
imply,
energy, and
wall
that
while
The
of
power
to
of
the
a
is
at
horizontal
least,
the
repose
greatly influenced
these positions
signifies
of
or
life
the
inaction
two.
by the prevalence
it
in his
extremely objectionable.
will
to other
relation
generally implies
we
its
always
the vertical
or,
is
character of a design
up-and-down designs,
we may say
strength
rela-
its
examine further,
But
in
left in
wall decoration
is
OF RELATION.
The
vertically, or
2^
on diagonals to
these.
arise
EFFECT OF DIRECTION.
In design, lines and forms
the mind by the
may
prominence of
presence.
lines,
the eye
it
it
to follow
runs
them mechanically,
as a
is
may
as a single
bad player or singer would destroy an otherwise good musical performance by preventing the listener from enjoying the more numerous
In
fact,
the
Lines, by their
have the power to lead the eye and mind into the picture or
design, or out of
it.
and contemplating
This
effect, as
it.
before stated,
is
may
is
at the
It is
mercy
completely helpless
The mind
and
for this
THEORY OF DESIGN.
28
Thus we
erect
while, in
most
The
thus
we
is
from right to
Fig.
5.
If that
feel, that, in
left
movement
is
is
5),
compelled to
is
This
is
an important
is
fact in design
Fiff. 6.
29
of
the source or
because,
if
not
Piff. 7.
may
direct the
mind
or eye to a point or
The
for
itself to a
subordinate point,
in Fig.
8.
corners of the square are the points from which the several forms
originate,
places of origin.
is
many fragments of
these corners. The
fill
THEORY OF DESIGN.
30
We
may
We
and
mind should
and elements
of a design,
of the lines
when we come
to
speak of unity.
F'ig. 9.
Fiff. 8.
from a central
thrown
off
central or
line, as in
5).
The forms
main
line.
They
it
would
31
seem, allied to the centrifugal, as the spray usually starts from the
convex
side,
and
origin,
is satisfied
with
that recognition.
When
is
off
origin,
the idea
at
line,
its
unit.
Each part
is
Dissever these elements from the central radiation, and give each a
different origin, the unit
The
is
a design,
is
The
square.
entrant curves
of
effect
is,
of the
the
Fiff.
re-
/6.
They
inevitably
effect
may be
introduction
an
of
opposite
mitigated by the
which
lines
tendency.
have
The
too
is
prevent
often
the
so
obtrusive as
to
it,
all
that
to the center
THEORY OF DESIGN.
32
and however
cross, or
X,
will
may
the space
full
be
all
be,
We
abundant that
gling,
is
it
squirming
lines.
This style
is,
means the
1 1).
It is true,
case.
lines of the
same
quality
but such
is
by no
may produce
Fig.
//.
good without
is
no one quality
trast
There
proper contrast.
to give con-
are of no value
The
curvature.
for
lines
control
mind a
relish
exerted
by
variety of impression
the direction of
(Fig. 2),
we
tical line,
the
elements.
Referring
may be
obtained by
to
same
in
is
form and
Greeks
mands
of the
The deductions
to be
satisfies
to a simple
drawn from
this
33
It is
harmonious expression.
some guide
variety,
poem
writing an essay or a
tion given to the
effort
and
for, in all
first it will
little
consideration, that
Fig. fS.
Fig. fA.
Pig. 72.
PARALLEL DIRECTIONS.
Take two
They seem
to be stand-
and unsympathetic.
They
seem
to
be entirely unyielding
is
14).
THEORY OF DESIGN.
34
OPPOSITE DIRECTIONS.
For a very
two
like
persons
dis-
who
Fiff.
other.
W.
16 the offense
We
sion.
when
direction
a friend in
To
sit
we
social
intercourse.
their chairs in
if
exactly in the
two persons
sit
with
sit
same
direction
and
so, too, to
with
some such
sit
of course, place
or,
three persons were sitting together, the three chairs would be grace-
law
is
by the second
as absolute in design,
reasons.
It is
i^iff.
The
display good
Fig. /8.
/r
9-
9
..v.
..*
--b
<.
V-
ments
when an
of design,
to satisfactory results.
may
We
same
size
(Fig.
them,
in
order
for
we change
to meet this demand
magnitudes.
Shall we
the two
enlarge
done, the
The
directed to
is
as
instant
the
unity
of
is
is
drawn
and
deto the sides
member
will
to
Let
of
be,
is
the outer
group
the
Fig. W.
indi-
this
hence
three
hence
outer flowers,
20.'
mind
we take
If
rhythmical
cated in Fig.
demands
35
us, then,
to
make
by a proper proportion.
member
two
look at
the central
The
effect
of the group,
and make the side members subordinate, thus preserving the unity
of the
group
(Fig. 21).
Mff. 20.
As
to the
form
of the three
members,
Fiff. 2i.
it
is
THEORY OF DESIGN.
36
evident, from
said, that
would be more in
it
keeping with the law of unity to give the side members more length,
proportionately, than the central one.
If either is
be broadest,
to
it
would appear the central one should be that one, for very similar
reasons to those given for making
the largest
it
member
viz.,
that
broad surface centers the eye more than an elongated one, especially
when
it
is
the center of
We
a group.
come now
to
the position
it
is
and so on
or perhaps
next,
And,
evident that the eye moves from the center of one mass
and so
in
would be better to
it
which
it
:
is
but
it
is
is
not so pleasing.
The
instant
we
lift
Fia 22
produced
make
(Fig. 22)
member
of the group,
If
we
we
The movement
of the eye
bers, is
23)
more
more
secured.
is
member
to the central
in
It will
movement
member
its
of
We
elevated position.
possible
way
of
group
member
There
of the group.
member
and so unsatisfactory
first
the
mind and
is
be, to
half of
something wanting,
to the idea,
and displeasing, on
Hence we
to the
tions
of the
Fig. 23.
is
(Fig.
emphasized by
sis applies to
mem-
to the lateral
unity,
The
and down
of the group,
37
we can
do to
fulfill all
the condi-
requires.
Next we come
to direction.
We
38
THEORY OF DESIGN.
There
We
is
The
lines of direction.
horizontal
strata
of
and upheavals.
rings,
radial lines.
With
group
(Fig. 23),
we
see the
the rocks
The
express the
curved, contorted
Concretion shows
is
itself
often manifested in
our minds,
if
we
refer to the
Fig. 25.
Fiff.
of origin.
36.
origin
from a
still
common
force,
have
satisfied a
want
of the
every thing in
ofifice
in its
own
its
them outward
mind
in this
(Fig. 25)
grouping
we
that
Let
us,
lines of
see at once
we
own
family.
place, filling
There
is
members may be
Fig.
26,
where the
member.
origin
side
members
are looking in
39
one, as in
effect
common
of a
is
by
and
direction,
Their position
the arrangement
is
at
Let
the eye pass leisurely from one to the other grouping, and the
full
suffi-
and
relation, of the
Similar
may be remarked
It
member supported by
lateral pairs.
It is
conduce
From
the enumera-
we
may be made
We
very expressive.
mically expressed
likeness
group
of three
is
is
note here.
ing rectitude.
It
is
still
another
lines has
effect,
upon the
which we may
the test-line of
all
crookedness or curvature.
THEORY OF DESIGN.
40
respect
of
assertion,
life
love,
or energy.
and hence
of grandeur.
is
expressive of absolute
it is
A vertical
of energy, and,
Curved
lines are
straight line
is
expressive of
sometimes expressive
is
symbolic
of affection
and
The
gently
mind receives
all
manner
of ideas,
And
and impressions
so
it
is
of senti-
ments, from the directions which lines are made to assume under the
hand
of the designer.
SYMMETRY.
41
SYMMETRY.
SYMMETRY
is
on each side
of
of a central line,
symmetry.
The
which we may
full force of
call
the axis
many
required to produce
perfect symmetry.
First,
The
Third,
As
to form.
is
parts.
There
Second,
Fourth,
direction.
Fig. 27 has
none
symmetry
symmetry.
as to number, but not to
to that of position
and
direction.
Fig. 31 conforms to the first four requirements, but not to the fifth
and
last, as to position.
Fig. 32 conforms to
all
The
THEORY OF DESIGN.
42
if
Similar parts
superimposed.
per-
any
Fiff.
Fig. 29.
Fiff. 28.
27.
or
o-
thing like a rhythmical arrangement, and for that reason may, even
then, be wanting in true beauty of form
necessity beautiful.
The
Fiff.
repose.
of
SO.
When
symmetry alone
is,
to
is
not of
produce
in
Fiff. 32.
Fiff. S/.
of inaction.
it
Again,
is
it
the repose
is
sugges-
SYMMETRY.
and perfect development.
grow
the open
in
symmetry
struggle
in trees
when
unobsti'ucted.
forms
symmetrical
and plants
Trees
left
free
field,
produce
tend to
accident,
43
a sign
is
of
metry, then,
a sign of
is
Sym-
existence.
The
on the edges of
the open land
forests, their
life is
them on the
and
air
if
Trees
other.
and,
strive to
growth
which
tell
thus, after
curved forms,
of
trees seldom,
if
ever,
The
forms they assume are only apparently symmetrical. Symmetry may
be either real or only apparent. Apparent symmetry results where
approaches the perfectly symmetrical
not do
so,
but
still
having
in this respect
when
to
do
axis,
the mind.
cal,
seem
symmetry, or
left
tendencies.
to
all
the
made
effect of
in this
to
their
natural
THEORY OF DESIGN.
44
The Japanese
beautiful.
are very happy in this style of ornament, and most frequently the
We
when we
we can introduce
If,
to
full into
true to nature
it
in fact,
the plate.
may be
The
it is
pictorial simply.
upon
it,
or hovering
Of
course, the
word symmetrical
it,
is
so,
one-sided landscape
balance, and
we
is
sometimes
feel
like cutting
able
only.
because
Hence
it
would degrade
it
want
away a part
is
picture,
more
objection-
ornament
still
of proper
of the canvas
meaning
may be drawn
sprig
arrangement
We
plate,
forsake
ornament a
we wish
for instance,
are
it
to
which
much
of
be symmetrical.
The
symmetrical, with
its
opposed to natural.
is
to
CONVENTIONAL FORMS.
45
CONVENTIONAL FORMS.
is
drawn, with
many
of the
be conventionalized; that
is
of a leaf or flower or
leaf, flower,
acci-
said to
is
form has
Considered
evidently a
degrading process
facility of
we
natural forms,
full
it
is
arrangement,
it is
an elevating process.
all
botanical facts
line,
and
For, in ornament,
;
but
we
use plant-
the beautiful.
It is,
of the artist, to
show us
them
in nature.
artist extracts
He
is
it
to us without the
all art,
and
of
The
lumber of a
also
he discovers
flower.
not aid him, but he seeks only what will serve his purpose.
true of
is
it
if
of landscape art.
This
is
thousand
THEORY OF DESIGN.
46
proceeds directly to his purpose, seizes upon the elements of form that
enable him to compose his visible music,
will
rhythm
of
the
harmonies and
magnitude, form,
and
position.
All these he combines into his discourse, his poem, his picture.
is
art
we
and, in
it,
there
direct motive
and end
no
The
as of
is
conventionalism in ornamentation.
call
avail.
to gain,
which
ends of the
All of these
The Moorish
far
removed that
it
is
true
it
became almost
ornament
of the
step,
a national
by the
emblem.
it
no doubt,
would be
may be
the Egyptian,
artist.
of the Greeks
This
lost time
The anthemion
from the honey-
was a pure
fabrication,
But
it is
It is also
The Egyp-
of this process of
to try to trace
suckle.
is
to imitate plant-forms.
suits the
which
all
originally
selection of form,
are far
and
This
and
of
Egyp-
of
these types.
In
the basis of
that style.
It
is
5).
The
real
form
It
floral
of the plant
CONVENTIONAL FORMS.
becomes as clay
itself
47
and
fashioned into a
is
assumes
all
It
artist.
some half-dozen or
much
service.
so of conventionalized
or
of antiquity.
We
is,
very extended intercourse of modern nations by the means of commerce, literature, and travel, and partly,
may
it
be,
from a want of a
We
all
and
there
is
By
natural forms
we mean
and
presumed, from
is
needed.
But
is
questionable
of conventional forms.
legitimate,
and what
determined, like
all
limits
others,
It is
it
ornament, they
will
will
should take
have
it
it
and,
and there
if
is
how
and
What
by the people.
have
there comes
ornament, they
Hence
color.
formed
torial
is
conventional.
is
it
it.
far this
tendency
be
they desire
pic-
no need
of
any central
THEORY OF DESIGN.
48
form
pictorial
of the calla
lily,
may be
and
the con-
b, etc.,
There
Fiff. 33.
may be
as
many
illus-
of the leaf
modifications of the
elements.
form expresses no
tional
cept
when
relief ex-
given
relief is actually
more
or less relief.
will
It
be inferred from
the
is
really
more
that
is
It is
the rejection of
the object
of
instead
all
in the
Since,
of
the
it
follows,
that as wide a departure from the pictorial form of the plant may. be
made
is
may
require
remembering always
and melody.
The
all
mind subordinates
into a unit of
draw
his
harmony
conven-
CONVENTIONAL FORMS.
tional forms
after
49
making
a drawing of the
The
easily obtained
is
by pressing the
con-
leaf in a
book, and drawing the general form of the leaf with or without any
The
bud
is
for ornament.
RADIATION.
The
of " Direction
requires a
"
more extended
polygonal form,
center,
form
When
notice.
by the repetition
is filled
a square or
circle, or
other
on several radial lines which divide the space into sectors, the
is
all
visible or not
mind
8,
fact of
reference to Fig.
the square.
The
directs the
6.
the
margin of a
design.
TANGENCY.
Tangency
tion
as
it
of
stems
directs the
mind
Each
side-spray
is
joined to
its
parent-
THEORY OF DESIGN.
so
Stem
as a tangent.
it
our
Any
Sprigs
sense of fitness.
when
if produced.
Tangency
va.
stems
may be thrown
Fig.
is
an offense to
as tangents, either
off
the effect
is
34,
At
and
At
satisfactory.
and
we have
The
fitness.
See how
it
it.
all
if
Roman ornament
also,
ex-
All
this law.
conforms
sense
all
lines,
to
the
It is grace-
in the
we have
Let
the same.
sensation produced.
Fiff. SZ-.
touches
it
is
of
is
violates
a com-
we
but
may
than
to
ornament.
should
why
is
Art
is
will
more
51
)0 cover space by
repetition.
First,
a. single unit
unit
requires
may be
This
is
p.
band.
common
fill
119).
a horizontal
of
method
some method
is
repeated in
form
of the scroll.
is
We
into
may suppose
answer
p.
simply bent
115).
This
is
placed.
is
every purpose of
It
of necessity
band
in
have a gen-
not have a horizontal direction, for the reason that the horizontal does
not imply life and energy and, furthermore, if the elements tend in
;
THEORY OF DESIGN.
52
itself,
monotony.
The
vertical direction
is
The
more
repetition
may be
Alternation
units.
of the
is
same
unit, or
an alternation of two or
form
is
cloth,
very
common
and
This
used for
is
oil-
may
be
to
Of
this
method there
or there
Fig. S5.
of
simple unit
may be
a repetition
Fig. S6.
in Fig.
36
or a single
A framework of
repetition,
diagonal bands
is
effect.
is
S3
in
There
is
in
any marking-off
is
the
space by geometrical
powdering
a proper subordination
to another, as to so
make
may be
obtained
many
centers of attraction.
two, so as not to
of the surface.
is
If
of
called a
exist
between the
Also avoid
be noticed,
The eye
but,
when
is
somewhat
room tend
to
make
the repeat
its
own.
is
is
naturally
vertical
on two opposing
neutralized.
Each
of
Horizontal divisions
These
persons,
if
at
all.
tall,
making the
THEORY OF DESIGN.
54
ALTERNATION.
Larger and smaller masses are frequently brought into proximity,
the two always presenting
some
The eye
vents monotony.
the next, and
is
is
it
pre-
centers on the
Compare the
same
level.
effect of the
two arrangements
in Figs.
JFig. 37.
their
of variety.
37 and 38
Fig.
Fig. 38.
vg)....i^..^.
37
is
different
This
is
motion
is
space
is
Fig. 38
is
more
pleasing, because a
line.
of
in
form
of the alternate
masses, because the contour of each mass causes the eye to follow
the centers
of the
masses themselves.
and smaller and
it
It is
of
it
at
each point of
it
rest,
looks upon.
which the
We
might go
principle in
all
farther,
The
taste
upon
us.
of this
laid
55
on.
Iti
a word, this
we recognize the
of flavors
law,
demand
is
harmony
to the rule
THEORY OF DESIGN.
56
IDEAS OF FULLNESS.
JN the
in
first
the mind
desires fullness
at a design,
on looking
difficulty
We
much
Hollowness
will
the mind
is
bad company.
that
so
respect.
not
no one
will
Too much
.'
is
something lacking
Enough
is
is
A design
better than
must
a feast."
in this
as the
No
space
left
uncovered.
It
it
would be
difficult to
cover as
If long,
much
of the space as
position of a design
would be
IDEAS OF FULLNESS.
the colors and lights and shades to be employed
57
and, in fact,
is
to
all
other
be put
is
We
is
all
know what
This
it
We
know
all
that a table spread for our entertainment does not look inviting
life
most men
who
is
is
will
The
The whole
if
of the
in,
them
to put
away
and when once a man has vanquished these enemies of himself and
his family,
poverty,"
feels
and can
how
it
These
say, "
is
Henceforth
man he walks
like a free
made
of
for him,
among
his fellows
and he for
Now,
it.
He
to this
want
its
line,
in our design.
melodies.
Our
must conform.
pictures
must be
and
rich,
and
plentiful in
of
the idea
picture with
little
Perhaps some
artist
eye,
or to relieve the
monotony
it
comes
is
an object of
in
the fore-
to the hill-top
seen in glowing
THEORY OF DESIGN.
58
colors,
the
single idea
which the
artist
had
and which
to express,
and incidents
tones,
much
of form,
and gray
lights,
Do we
which
sense of
pleasure
we
fills
feel
feel
on looking
and completeness,
fullness
We
but
warm
we must deduct
the
of
will
hill-top is pleasing,
we
in
and
It
pertain to
constructed,
of art.
which a picture
is
light
An
is
of
its color.
paramount importance.
We
full
many
excellences to
may
And
in that
they are always debts which are to be deducted from the sum of
pleasure which
may
show.
way
true, that
by contrast
is
to give a relish
we may otherwise
feel.
too
much
space
left
felt if
there
IDEAS OF FULLNESS.
The
59
and
will
idea of
with one of an
opposite character
pupil once obtain
is full
and complete,
30,
and he
this idea,
like Fig.
ideas
as
will
methods
to the
Let the
of
results
arrangement.
from
This can
construction
at first to obtain
single idea
may be
it
is
if
The
The idea
teacher, therefore,
designer
is
of fullness has
ever liable to
plethora, as an
much
of
becoming one
must wait
its
for
all
Fullness
is
All arts
art.
and we may
say,
a crowd or a mob.
and makes
is
worse
off
it
Too
worse
than an
is
gorged stomach
to the system.
no time or room
demands attention
we
fall.
just as a
for
if
way.
when obtained
assemblage
there
omen
is
arts.
a good
it
sure, that,
will require
at
to see
once
them, no
because
is
in the
THEORY OF DESIGN.
6o
A sense
is
of confusion results
the designer to
much
too
in his
this
respect
when he
an example of
which
art in
is
The
The scene
The
subject
the desert.
is in
There
admirably balanced.
The
How
it
is
the flight of
is
The
time, midnight.
full
and complete.
In
the foreground.
infant child
and
its
in
Near
smoke
is
feet.
is
on
all
A soft,
light illumines
else
This
is
is diffused
tender
in the
of the sleeper, on
the loose garments of the mother, and on the upturned granite face
falls
weary travelers
religion,
of
which
an emblem
sleep.
is
The
It is
who
babe,
is
to be the author of a
new
of a religion
built.
Is there
and not
enough
spoil
it }
in this picture
It is
.'
complete in
Who
could add to
its fullness.
it
a single line
IDEAS OF FULLNESS.
Examples
6i
might be referred to
enough
It is
Ideas of
upon which
These,
if
but
observations,
all
successful art
must
art.
own
of themselves suggest
sufficient in quantity,
and are
light,
full
all
arranged into
may appear
may be made
gems.
It is
Bands
to look
of
flat,
ornament on
to be
full,
idea opposed to
know how
to
produce
It
itself
of richness
may be
it
said that richness can not be produced without the idea of fullness.
are
but
now
of color.
We
Richness of color
is
now only
to the distribution
it
but our
and arrangement
of the
THEORY OF DESIGN.
62
AND INTENTION.
IDEAS OF THOUGHT
^NE
of
of a design is derived
is
of
delight in the
It is
contemplation
of forethought
which
by his work
it is
all
feeling which results from seeing the right thing in the right place.
of arrangement,
selection,
And
in the
same
direction.
There
mind
new and
pleasant impression of
some new
many thoughts
it
would be
if
we knew
ply by accident.
or
in
to express.
has to give.
us,
and
this is
be-
many
this
want of
it
knowledge, want
of
taste,
a sense of
or
fooUshness or
imbecility,
would be destructive
design.
It
of
all
good
make
teacher
it
all
this a rule to
effects
Intention
produced by a
of itself
is
must be apparent
Let the
There
There
is
in accident.
INVENTION.
The element
combinations,
of invention,
is
delighted with
which results
mind
pleasing to the
a beauty which
subtle combinations,
if
and unexpected
We
the observer.
all
rare.
be admired
qualities to
But there
is
qualities;
and that
is,
in
the
much
are
is
in curious
of
We
would
not help
it.
The
recognize.
pleasing
it
is
we
like to
is
never
THEORY OF DESIGN.
64
CONTRAST.
^T seems
be a condition of nervous
to
excitability, that, in
give pleasure.
it
gives a
In
No
intensity.
one sensation
can not long
its
momentary
delight, or,
more
destructive
of
all
we
change
pleasure
is
becomes
it
all
visual
sensations
is
also
All
The
derive from
but,
pleasure
it
is
if
becomes an offense
result
fiber
is,
no doubt, due
contrast to
stands in
its
to the eye,
and
is
to
In
it.
natural contrasting
is
in
as
much
music.
out
This
CONTRAST.
good
light for a
is
found
in
what
is
called
65
spot will re-appear on the white paper, or will be seen with, the eyes
closed
but
complement
of a different color
it is
Why
of red.
it is
no longer
which
is
is
It
.'
If
is
we
shall
of the
not
in this sense
we admit
if
destroyed by being
that
all
contrasting
fundamental conditions of
all
pleasurable sensations.
It
result
therefore contrast
is
a necessity of
all
art.
fixed limits
of each.
which
The
of that
Color in pictures
precious
is
is
when placed
simply dead
color,
in its
of
will
cause
proper relation.
no value whatever
it
to appreciate in value.
In
all
it
becomes
other situations
it
in an aesthetic point of
view.
It is for these
call
in
we
results
one direction.
THEORY OF DESIGN.
66
Thus
tioned.
directions, or positions, as
it
by the presence
and demands,
etc.
space should not be equally covered, but that there should be parts
much
or elements
sweeten flowing
In
Geometrical forms
lines,
of
We
in fact, in
but
this
lines are
has been
principle
never
left
unassociated
decorative art
Flowing
art.
his
how charming
takes a high
statement only
is
when
hill
and
valley,
is
like riding
smooth meadows
and rugged crags, and mountains, sweet sunshine, and somber shadows
cast
through
at
every turn, as
we
So the
skillful
He
is
hill,
course.
ride over
mossy
ledges.
to the successive
alive only
all else.
That
is
and
CONTRAST.
it
67
its
principles, in associa-
The
lous
and out
ences.
It
is
is,
to present that
which
of keeping,
differ-
Too
Many
now
of
ensemble of effect
tion,
ridicu-
is
is
become
entirely
dwelling-houses
the groundwork
This effect we
away
fall
may
call
in
precipitous, because of
is
set.
expressed between the color of the trimmings and that of the body of
the house.
It
to the other.
is,
We
We
of doors
to look at the
but the reader can readily supply the want of further illustrations.
derived, as
as to have lost
work
space
all
itself
being
individual resemblance.
of geometrical forms,
first
more or
These are
less exact
set in a frame-
and mechanical
the
filled
also,
THEORY OF DESIGN.
68
Contrast
tion to
is
some
contrast between
by
as the bright-eyed
because of the
its
in a social
it
is
in the
arrangements of
many
of
this
spring.
view shows
The
life.
for
weeks and
If
the respite
rest to
the weary nerves, the catastrophe which befell the mind might have
been averted.
We
know
of
Variety and
therefore, there
is
the
strongest reason for claiming the law of contrast as one of the primal
principles of
all art,
which
all
is
made
UNITY.
69
UNITY.
'iY
we
look at a series
probably
with
discover
a singleness
assemblage
of
of
designs
some
that
of
perfect subordination of
affect
impression,
though
as
all
This result
effect.
all
is
we
seem
is
so
and no work
many opposing
whole
laws.
will
This result we
do not so
of art can
impressions.
call
the
shall
mind
produced by the
stories at
we
the
On
pictures,
unity of effect.
or
them
This
effect, of course,
itself in
mind
have
of the observer
to give.
a whisper to distract
of effect
which they
own
THEORY OF DESIGN.
^o
trude themselves.
The
painter
This
and the
most
art
is
man
is lost
in art,
One
of the
no exception
of design offers
common
is lost
errors in composition
is
to the rule.
in allowing
some mass
or group
on the margin to attract and hold the attention, preventing the eye
Thus
centers of
of unity.
(see
Fig.
8).
our marine painters, exhibited a few years ago, there were represented upon the open sea two groups of vessels.
the right half of the picture, and consisted of
The
was on the
vessels,
There was a
of
left
of
side
in
the picture, a
little
farther away.
the picture, over which one might draw the open hand without
was
as the eye
fixed
The
the eye
its
become
fixed
upon
this,
wander
to
and
this picture
fro,
than the
:
first
group on the
left
finding no rest.
its
double purpose
in
to
which
and that
pleasing.
in
painting
The
;
effect in
what
is
order to be
called
much abused
"breadth"
of late,
by
UNITY.
An
71
concentrates the eye in that portion of the work, and subordinates the
elements.
out-lying
If it
field.
gin, the
and hence
in
were placed
in the mar-
for that
of the picture,
remote from the center of light and attraction, would become useless,
Look
design,
and
at
pic-
appear evident.
In
effect.
is
filling
certain geometrical
By
given,
we
one
of the
group
is
and
yet, in a
the examples of
in
most useful
of pupils in the
grammar
The
book
who
work
in
drawing
schools,
masses
parts of the
all
to the central
is
apply to
strictly
concerned
But
elementary designs,
should always be
size, in
made them.
THEORY OF DESIGN.
72
are applicable to
them
In designs where
spaces.
all
the eye
and,
if
color
is
applied,
With reference
of attention
is
and second
to p. 125, first
apparent (see
155).
p.
of the
The
effect of unity is
The mind
pleasure.
aesthetic
song,
is
enough
There
which
is
is
at the
same
time.
oration, one
travel, so to speak, in
controlled in
of all
its
movements by
ease,
it
should
not be compelled to
other directions.
with the groundwork, the eye will be compelled to follow them whether
so inclined or not.
flat
surfaces
but
to consider in this
connec-
UNITY.
73
tion.
Segregation
parts.
is tliat
of
result of an
as each group
What
where parts
is
emphasized as to
its
influence.
The
when the
parts are so
flat
and uniform,
color, that
they run
The
fusion
coming
contact
in
example
two forms
of
of
this
Two
effect.
a passage
afford
one
bined
the
eye
and
may be
their effects
contrary
to
will
other,
for
the
to
^^ff- ^^
another
is
from
by
thus comthe
intention
of
Thus
the designer.
it
b.
ing space
is
let in. to
the eye
example.
open,
in the
makes
it
is
pre-
easily does
THEORY OF DESIGN.
74
independent existence
in
the
first,
they
Of course
this effect
is
wholly a mechanical
In conformity with
rules
effect,
these principles
we may adduce
the following
touch
belong
to the
same
touch,
tmit.
From
experience
we can assure
They hedge in
at the
the
the
give the teacher the grounds for just and discriminating criticism.
taught, but
it is
It is
of errors in construction
author
is
where design
aware that
it
file
class.
for
The
pages such a collection as he has made, showing errors of construction, as illustrating directly
printed in a book
vitiate the taste
by
their presence
It is
if
DIVERSITY IN UNITY.
75
DIVERSITY IN UNITY.
)HE demand
is
in
mind
of the
shown above,
and that
is,
we have
already indicated.
etc.
general
must
se7ise,
That
fact,
and
This
which there
is
is
mob
is
with unity
a broad and
in
diversity,
down the
set
art,
is
whether
Diversity alone
is
is
one of
order.
a well-regulated society, in
liberty.
It is
the associa-
tion
of
ideas
mind
its
chief pleasure.
We
it
chaos.
the
of our thoughts.
The
nation of
is
single grand
impression of the power of the great sea under the influence of the
mighty storm.
The ocean
is
stirred to its
deep
in
sweep-
THEORY OF DESIGN.
^e
ing, vertical curves,
is
and
in the distance,
masts
of the elements.
action
and the
the
in this picture a
It
are the
effect.
There
elements
is,
indeed,
"purgation of superfluities."
may be remarked,
a scene
is
sea,
slave-ship,
It
is
this expression
of these
in
equal degree.
We
in design.
It will
would seem to be
and .sources
ditions
effects
of our pleasure,
comprehend these
con-
produce
Thus the
critic
and
The
apply our energies to the proper points of attack, and not to waste our
DIVERSITY IN UNITY.
We may
no possible way
is
we have determined
These conditions
of art,
mind and
And, when
own minds
which
is
and we
life
art is that
Under
life.
compre-
all art
we
of
pleasure,
our
77
is
within ourselves
most expressive
good
when
of our
own
an outgrowth from
art is
reflects our
it
own
mental constitution.
If
find beauty
and grace,
let
and,
it is
in the
become the
law of
That
all art
is
life
life,
we endeavor
to
and
mental
life,
in
of its
reflection of our
which exists
if
we do no
life
vio-
but,
and hence we
We
come
in this
way
of failing
to reject all
energy or decay.
We
should use those forms only which are expressive of the fullest and
most intense
life,
upon
In
may be
fact,
beauty
Rampant
life
itself
is
partly dependent
THEORY OF DESIGN.
78
but
beauty
all
derives
to the
its
is
lost in decay.
The
expression of
this source
all
good ornament
Look
at
any
style
of
classic
Moorish, and every form and line will give you the impression of
CONSTRUCTION.
79
CONSTRUCTION.
)HE
elements of design,
if
graceful
may
less .conventional
fruit,
composition demand.
forms selected
already-
be, the
to
nature
of
the
But, so far as
public-school
may
work
is
in design.
representations of
ments
for design.
THEORY OF DESIGN.
8o
Plant-forms
should be
made
to
fill
line.
Moorish ornament).
Geometrical spaces
may be
of
suit various
out lower
growth
of a spray,
flowers at the top, or wherever they would naturally occur in the particular plant
used
and,
if
and
all
fruit
if
is
to bear heavy
and forms of
lines, they
may
be fashioned into
The
He
life,
is
of
plant-forms.
He
fill
which
is
suited
Some
by
its
habits to
CONSTRUCTION.
8i
to
For
and the
like,
answer
will
pose
leaf,
so used to
to
this class of
a very limited
may be
appropriately used
appropriate
representation.
degree.
selection
larger combinations,
the
for
where vines
are used.
Forms wholly
tastic,
having
or mainly fan-
little
or very dis-
appropriate
they are
ideas
for
made
of
to express
beauty
and
the
Such
all
the
rhythm
in a de-
fantastic elements
designer
may
freedom, and do
may,
when
design
use
with
in fact, express
with them
all
of
of design.
they possess
form and
size,
all
which belong to
He
line,
real plants.
In the Moorish
real
plant-forms
and beauty
of variable
pro-
hibited by their religion from the direct imitation of any living thing
THEORY OF DESIGN.
82
in
ornamentation
their
The employment
forms.
is
first
may be
etc.,
is,
etc.,
Let us
rule and
is
Then
should proceed to
space,
This
filled.
or thirds and
between two
all
fying
the only
to all design.
sixths,
enumerated as essential
The
of forms, therefore,
space
fill
Then
adja-
the pupil
This quarter we
the requirements.
fills
it
is
will
the unit of
call
To
repeat
when the
may be
made on
thin tracing-paper
tracing-paper
is
by dots
in
taking care
The
tracing-
may be
it.
To make
the tracing,
mark on the
tracing-paper firmly, with a good pointed pencil, over each line of the
drawing.
The
trace
may
side against each line traced on the face, so that the line of the draw-
may be
filled,
each
CONSTRUCTION.
unit of space.
The
process
is
83
easily accomplished
by pressing
firmly,
thereby
The lines
may be repeated
The
process
it
is
very
difficult
by fixing
trace.
The
process
moving
it,
long
may be made
^v.
THEORY OF DESIGN.
84
APPLICATION OF DESIGN.
jHE
in
place
this
we may
but
notice
some
the
of
full
most
ordinary applications of design, for the purpose of pointingout some of the necessary conditions of such applications.
Pottery
human
is
is
industry
ment
fancy
may
find
ample
play.
It
of tastes,
Designs of
are of
and
all
The
in fact, the
all
grades
the
carved ornaments of
range
is
teacher of
of orna-
may be
class
is
elementary design
all
kinds,
of art.
will
find,
among
An
human
pupils.
of
the
of her
APPLICATION OF DESIGN.
and
in addition to the
if,
85
the actual
circumstances,
inter-
The
pupil
decoration.
avoid the
It
better to
Piff. If.
at first
could
make but an
virhile
course,
of
is,
might
he
indifferent
very
various widths
the vase.
of
These may
There
a band
bands
of
of
ornament.
ornament
should
not be placed
and bottom
for
bands of
positions on
undoubtedly, right
are,
horizontal
different
at
manage
readily
picture,
of the vase,
nor quarter-way,
71.
It is
ornamental
stripes
top to bottom
all
because
it
would destroy
idea of the general form, and would not produce a feeling of repose
and unity.
If
the object
is
to
main band
of
ground
of the
same
color, the
THEORY OF DESIGN.
in
Fig. 41.
Any
division of
to the size of
the vase.
objectionable, because
it
but
its
character as a vase
if
Fig. i2.
space offers
or
if
appropriate
places
for
For
it.
like
up by a succession
horizontal
of
bands,
collars.
If
composed
like
or sim-
may
If
it
is
evident that the high lights should not occur on the top and bottom of
the vase, and darker shades on the central space, but rather that the
central
light
of the vase
and the
This
is
any and
all
These sugges-
APPLICATION OF DESIGN.
objects.
of use, is
not one of
is
87
its
characteristics
it
may
and, conse-
quently, such forms are necessarily placed with the class of ornaments
With reference
landscapes, and
human
figures in the
decoration of dinner-services,
sky, or jams
and
Such have
the. sanction of
great wealth will prevent the mass of the people from indulging in
THEORY OF DESIGN.
88
FLOOR-COVERINGS.
)HE
change
made
of
flowers,
were very
as the floor
and
it
The
by
its
takable qualities.
its
soft
surface
sit
us to tread upon
method
It is evident, that
flatness,
scape-patterns
which
any
and softness
in
its
style
is
carpets,
soft,
clean
as a
surface.
summer
This
We
or as
Nature's
trees.
of smoothness,
it
or autumn,
is
not good.
mossy bank
or walk upon
its
as a type of
its class.
It
floor.
One
represented
FL O OR-CO VERINGS.
and stairways, water reflecting the blue
89
of the sky,
tangled shrubs, flowers and flower-pots, swans and boats, and children
at play.
The occupants
their feet
of the
to sit with
of winter, tread
upon
the boats, swans, and children at play, and walk over the trees, shrubs,
If
them
all.
They may be
being
actually produced
floors,
by machinery,
and
they
may be
vio-
skill,
costly;
but these facts are not valid reasons for regarding them as suitable
for floor-coverings.
It is
in a landscape
because
it
more appropriate
approaching
greens, are
retreating.
more
It
of substance.
spaces
to
colors,
other colors
thus the
If
as nature
blue
is
employed
employs
relief,
The
It is
sitting
which
cold and
is
without apparent
should be
to a carpet, as
One may be
inverted position.
no up or down end
it
at
all, it
Small patterns
that of solidity
The
prevailing
left
effect
of
color
of vacuity
and
light.
to
have some-
thing substantial and secure to stand upon, and should not seem
suspended
in mid-air.
limits,
there
is"
room
for
THEORY OF DESIGN.
90
"WALL-PAPERS.
In the
first
all
really
is
facts.
be rejected, as should
bands which
as to
it
differ so
methods
all
fall
of cutting
other,
In other words,
One
is,
;
of wall-ornament, to
is,
be made and
is
simply
of
the
The
first
class
Capitol at Washington
by the
Italian
ornaments are
to
painter,
No
Constantino
pictures or other
There may
WALI^PAPERS.
be
to
many grades
91
The second
decoration
is
it
class of wall-
becomes sub-
it.
be designed to
it.
this
fill
which are
primary
class,
indicated.
The treatment
of wall-papers
principles
The general
effect
must be con-
furniture, etc.
as a whole,
and considered
in
Many rooms
One
nished room.
wall-papers.
of the
These are
most
all
it
fertile
selected,
is
the
The
be
first
its
color
and
its
very
degree of
and shade
light, or
it.
light.
If pictures are to
it
either.
If
the wall-paper
If,
be hung upon
to the
This effect
is
exciting in color, the eye will gravitate directly to the pictures, and
THEORY OF DESIGN.
92
upon them
will rest
easily.
visitors
used.
to
or the walls
too reced-
is
may have
the
all
produced.
medium
they should be
pattern used,
style of
it
is
but
of
only,
With
reference to shade,
it
regards the
little
the better.
As
and shade.
also as to light
it is
more
room
namely, the
floor,
It
would seem
the most natural that the floor should be the least luminous, the dado
the next highest in the scale of light, and the wall next, and the ceiling
lightest of
the
floor,
Or
all.
may have
the dado
if
in
due proportion.
ceiling should,
ensues, which
is
is
prevail
between the
not without
its
immediate
effect
Where
floor,
the wall,
of repose
and quiet
of
WALI^PAPERS.
There are two necessary conditions as
shade
the figure
is
to the color
color.
lighter,
may be
It
to
93
if
observed, that
the ground-color
is
which the
destroys the
light of the
open sky
is
of the
This
seen.
room
It
as
may be
the
first
it
prefer-
is
it
is
and
With regard
to the
two spaces, the figure should be the more approaching, and representative of
more substance.
effect is
Let no one be
so
often
seen,
destructive
is
of
all
repose and
an
unity.
There should be
although more
decided figures are possible in the carpet than in walls, because the
walls are but the background for other objects.
light.
so
much darker
THEORY OF DESIGN.
94
same
walls.
The width
set,
but
of borders
Of
important part.
of
is
not in keep-
wood, like
all
wall.
the fireplace
is
a wood-fire.
parlor.
is
It is
The odor
What
open
is
fire,
there
more congenial
and especially
if
it
is
the
wood
is
The
beech, the oak, the maple, the pine, and the birch and hickory, each has
its
peculiar odor
of woolly
and
blue,
;
the
and
reverie.
all
The
we seem
homes
is
a sign of a
HINTS TO TEACHERS.
95
HINTS TO TEACHERS.
|0 department
of
drawing taught
is
more
when working out their own designs than when they are only
copying.
The consciousness of ownership is an important
factor in the motive for
own
improvement
will
an important gain
in
an educational point
of view.
better, gives
This, of
It
itself, is
and consequently
of
good taste as
well.
It
is
that the study of design, taught in a proper and thorough manner, would
conduce very much to the good taste of the future community, and
would
effect all
taught.
It is
with the combination of the simplest elements, and should note every
It is
not difficult to
all
design
is
based.
This has
THEORY OF DESIGN.
96
been found to be the case where the subject has been intelligently
taught.
The
be
filled,
some
method
or
if
it
is
to
be applied
ornamentation should be
of
to
dis-
cussed.
It
is
is
all.
The
There
will, as
a matter of course, be
of the error
made
plain, the pupils are pretty sure to avoid that error ever after.
to
The commission of
the teacher.
They
stepping-stones to improvement,
no discouragement
Let the
whole class take up the same subject, and make their design on a piece
of exercise-paper, either
brown or white
suitable,
scheme
of the design
The
class.
this purpose.
may be done
home, or
at
is
The
first
is
plan or
in the schoolroom,
teacher should criticise the work of the pupils before the whole
Where
community
there
is
community
of
interest, there
may have
the benefit
should be a
t)f
the
criti-
HINTS TO TEACHERS.
These designs should be brought
stand before the
should
class,
in
97
and collected
and go through
all
them, point-
After being
criticised,
submitting
it
to the teacher.
is
before
often
suffi-
is
is
needful,
The
the
first efforts in
"There
is
There
is
arrangement.
efforts at
design.
The
subject
in
adaptation and
composition in language
first
It is
the teacher should suggest the precise change to be made, but only to
point out the principle violated, and the direction the change should
'K^iJ^
-THEORY OF DESIGN.
98
METHODS OF
CRITICISM.
r^
QUALITIES
CONSIDERED.
-.
*HE
First, Is
tlie
so filled as to present
no appear-
crowded together
More
is
or less fullness
and
it
the other.
may be
and whether
of elements
it
mob
be seen from a
to
small.
With regard
proper impression.
of
and
expressive
and energy ?
life
Third, Ai'e the elements used, taken as a whole, too large or too small
for the
If
tcse
made of them
effect of great
is
well
filled,
there will be an
METHODS OF
On
effect of
if
CRITICISM.
the forms used are too large, they will have the
will
99
to
magnitudes
and, as
it
is
one of the
relative magnitudes.
Fifth,
Are
forms
the
Sixth, Is the
Seventh, Is
7tsed
harmonious
and direction
best expression
as give the
effect f
is
intended or desired ?
Tenth,
Have
and forms
been subordinated
and
subdued?
Eleventh,
Has
tcnity
Twelfth,
Has
one general
effect ?
Has
Thirteenth,
to
the
lines
and stems
Fourteenth,
sition
Has
dispo-
Fifteenth,
appear
to be
Do
attached
Sixteenth,
Are
space
forms used?
only?
THEORY OF DESIGN.
lOo
effect
life,
mar
the
of
elements, tend to
forms, clear
and
lines, etc. ?
require half-tint
to
or a shaded background?
Half-tint should be applied to the
so
numerous
The
on the ground
is
effect of half-tint
of
will
upon
just
the particular pupil, than that they should be answered without asking
by the teacher.
Let
of the qualities
all
The
in
discover that they can understand design as well as any thing else, and,
power
of invention, combination,
and execution.
design.
and then
it
is
METHODS OF
variety of geometrical spaces, which
CRITICISM.
may be
lOi
filled
ment, such as triangles, squares, pentagons, hexagons, and other polygons, circles, ellipses, spherical triangles, rectangles, parallelograms,
etc.,
endless
variety
of
radial
of
may be
The forms
When
of
line, as in
lines,
arrangement
in use, as
These, with an
etc.
line in the
Roman
scroll-
these forms of
it
that
is,
designed.
tiles,
and
fire-service gene-
work
any
in applied design.
For a
the
pupils take a vase, either designing one, or taking an old form, and
it
(if
there are to be
any) in their proper places, with their due proportions as to widths and
size of
elements used.
In the
As
to lace
same way
let
in
the
ordinary way, and then painted in pure white or black upon a piece of
transparent
tracing-paper, laid
THEORY OF DESIGN.
I02
the drawing
itself,
ever serves the purpose of showing the design to the best advantage.
In advanced work, water-color
For
this
may be used
opaque.
The
application of
color to design
brings in
another important
difficult of
apprehension
scientific facts,
scientists.
COLOR.
103
COLOR
^OLOR,
as
applied
effects
understand
to
It
is
which dominates
combination.
here,
it
it.
could color at
reference
of
of
will.
As
it
is
If
here, too,
there
is
any law
important that
there were
If
is,
the
the
to
to
in
with
becomes a subject
design,
to
importance
first
of
should
the designer
no
the
laws,
all,
combination
designer
determine for him beforehand what he shall do, and prohibit him from
This law of nervous action has been before
p. 64,
The law
of pleasurable action
seems
different colors,
it
color.
is
to say, that
all
by the
when viewing
the eye
its
will not
own complementary
is
or
agreeably exercised
of
them.
THEORY OF DESIGN.
I04
Without going
may
and
will
entertaining work
whose work
"
Until
is
a good English
"Esthetics,"
entitled
Helmholtz.
quite
which
He
says,
harmony were
first
made
In
a study of th'e
"We
endeavor
will
to
present
it
of color.
in a
few words
and orange.
violet, green,
because
it
is
violet.
three
first
yellow,
red, blue,
The
whatever.
The
because
can be produced by red and blue, green by yellow and blue, and
come
"The
combination
be found
will
horizontal one
in
the
first vertical
The
colors used in
column and
in the first
'
De
la
Loi
clu
COLOR.
105
'THEORY OF DESIGN.
io6
"By
the table
we
green and
is
first,
those
purple, a
compound
and
of red
little
foni-th, yellow-
violet.
complementary
third,
is,
its
violet.
They
are,
Whenever complementary
side,
maximum
by pure
more
of intensity
blue, yellow
violet,
Yellow-green attains
violet,
its
in
Too
red
is
lively a
it
no clew
will afford
to the
when brought
complementary colors
to design or painting.
is
will
into juxtaposition.
the key to
Colors will
which
all
enhance the
The theory
of
COLOR.
painted picture
In
color.
fact,
is,
to leave the
mind
free
from the
becomes a
107
real offense
because
is
it
effect of
any one
to think of color at
all,
un mated, or unbalanced by
its
harmonizing complement.
effects of color
notice here.
warm
Warm
colors are
those which suggest heat, as orange, yellow, red, and the browns
which approach
these.
The
is
to cause
some
quality,
let
To
Piff- Ai..
44,
and then
The
is,
have the
stripes
effect of rais-
Take three
greenish blue.
Try another
effect,
series
colors in
^^^^^^^^^
^^^^=^ZS
using red,
of
two
colors, using
red and
THEORY OF DESIGN.
io8
As
in effect,
of
color.
The
retreating.
there are various degrees of this quality, any desired effect can be
coloring.
the object.
of density.
that
is,
of ornament,
it is
if
Forms
The
ties
of
all
It
is
are
of
indispensable,
and
to
suggest
suitable
topics
for
his
investi-
gation.
Every student
all
less reliable
scientific facts
of color should
ing colors received with confidence before the science of color had
been so
far advanced.
PLANT-FORMS.
series of plant-forms
is
added to the
list
of illustrations to this
COLOR.
number and
the
109
variety of
In most
cases these have been drawn direct from the plants themselves, and
for that reason are not without a certain botanical interest over
The
and
plants are given, and, in addition, a front and side view of the flowers,
and the
form of
full
leaf,
in
design.
Where
the front and side views of flowers are omitted, they are
may be more
itself.
fidelity to
is
may
at will,
These forms
the designer.
the
The designer
they
CONCLUSION.
We
depend-
in its
ence upon certain fixed laws which govern the mind with reference
to its inevitable action in the contemplation of the beautiful.
believed, that
The
we
him
to
make
seem
respect
It is
differ
and
in this
of conventional forms.
THEORY OF DESIGN.
no
The
love of
nature
is
characteristic
of
seems
All plant-
forms offer themselves for our use, and the storehouse of nature
inexhaustible.
to
is
A SERIES OF DESIGNS
PUPILS IN
YEARS.
Fiff. 46.
Pig. le.
113
Fi&. ^7.
Ififf. 4-8.
"5
Fiff.
mg.
SO.
Pig. 6!.
Piff. 62.
119
Mg. 63
123
Pig.
Piff. 67.
127
129
131
133
135
137
139
HI
'43
145
147
149
<5)
S3
155
^57
IS9
i63
67
Fig. 79,
Piff. 80.
169
Pig. 8/.
171
Piff. 82.
Piff. 8S.
W\6f of pPaaf-iJonTix^.
The
'j^
are given;
because
plant-forms
"in
express
the
it
a proper use of
and energy
of
he may incorporate
order that
essential to
life
them
is
form as
in
is
and
The
good variety
Both
teacher and pupil should select such a plant as would be best suited to
the particular design under construction.
plants, appropriate for
Some
Others are
sprig-like,
is
and are
79
THEORY OF DESIGN.
i8o
suited
to
more
restricted use.
filling of
broad spaces.
to special
The
list
it
must
of necessity be,
it
is still
large enough,
But, incomit is
believed,
and schools
Piff. 6'4.
i8r
Pig. 86.
Pansy.
183
Mff. 86.
Sweet Pea.
185
Fig. 87.
Agrimony.
187
Fiff. 88.
(
Kalmia.
189
J^ig. 89.
Piff.
90
^^Q^.^
Deutzia.
Fiff. 9f.
Little
Fiff. 92.
Primrose.
93
Fig. 9S.
195
Fiff. 9/>:
(Z^^
Chelidonium majus.
197
Fiff. 95.
199
Fiff. 96.
Petunia.
201
Mff. 97.
Mimulus ringens.
203
Piff. 98.
J*'i&.
WO.
207
J^'ff.
Wf.
Clintonia borealis.
209
Fiff. fOS.
Pig. fOA.
Fig. f06.
Fig. W6.
Siar of Bethlehem.
\,
jlvA^
Fiff.
217
W8.
Fiff. f09.
Blackberry
219
Fiff. //<?.
Cyclamen.
Fiff. ///.
Poteniilla Canadensis.
Erythraea tricaniha.
Poientilla argentea.
JFiff.
//4.
F'ify-
//^.
" Margareita."
225
Fig. //7.
4ay
U/
Oxalis.
227
Pig.
//.9,
V#'
Malvastrum marruboider.
229
Strawberry.
Fig. i22.
Symphytum asperimum.
231
J^/'S'-
/ K
-'
^^3.
233
Fiff. /i?^
23s
Piff. ^36.
Geranium-
237
Succory.
239
T^/^f.
/SO.
rv>
^
Mff.
/3.9.
m.
.^*.
Verbena,
Silena.
^1
241
p'fff.
fsa.
Piff. /Si.
^c>.
Pfg.
fS.'S.
245
J^iff.
t*^^^""'
/-?6'.
if]
i^-^. /^7.
Dalibarda repens.
Piff. !38.
Coreopsis.
Checkerberry.
Caultheria procumbens.
247