Line and Form (1900) Part 4

In all design-work which has to be subjected to processes of engraving and printing, clearness and definiteness of line is very necessary.

Designs for textile printing of all kinds, for wall-papers, especially, require good firm drawing and definite colour planes. This does not, however, mean hardness of effect. A design should be clear and intelligible without being hard.

For weaving, again, definiteness in pattern designing is very necessary, since the design must be capable of being rendered upon the severe conditions of the point paper, by which it is only possible to produce curves by small successive angles (which sounds like a contradiction in terms). The size of these angles or points, of course, varies very much in the different kinds of textile with which pattern is incorporated, from the fine silk fabric, in which they are almost inappreciable, to carpets of all kinds, where they are emphatic; so that a certain squareness of ma.s.s becomes a desirable and characteristic feature in designs for these purposes, and, indeed, I think it should be more or less acknowledged in all textile design, in order to preserve its distinctive beauty and character.

[The Artistic Purpose]

_Beauty and character._--In these lies the gist of all design. While the technical conditions, if fully understood, fairly met, and frankly acknowledged, are sure to give _character_ to a design, for whatever purpose, _beauty_ is not so easy to command. It is so delicate a quality, so complex in its elements, a question often of such nice balance and judgment--depending perhaps upon a hair's-breadth difference in the poise of a ma.s.s here, or the sweep of a curve there--that we cannot weave technical nets fine enough to catch so sensitive a b.u.t.terfly. She is indeed a Psyche in art, both seeking and sought, to be finally won only by devotion and love.

This search for beauty--this Psyche of art--is the purely inspiring artistic purpose, as distinct from the technical and useful one, which should, perfectly reconciled and united with it, determine the form of our work.

In drawing or design we may seek particular qualities in line and form either of representation or of ornament. We may desire to dwell upon particular beauties either of object or subject. Say, in drawing from a cast or from natural form of any kind, we desire to dwell upon beauty of line or quality of surface. Well, since it is most difficult, if not impossible, to get everything at once, and nothing without some kind of sacrifice, we shall find that to give prominence to--to bring out--the particular quality in our subject (say beauty of line), it becomes necessary to subordinate other qualities to this. A drawing in pure outline of a figure may be a perfect thing in itself. The moment we begin to superadd shading, or lines expressive of relief of any kind, we introduce another element; we are aiming at another kind of truth or beauty; and unless we have also a distinctly ideal aim in this, we shall mar the simplicity of the outline without gaining any compensating advantage, or really adding to the truth or beauty of the drawing.

In designing, too, unless we can so contrive the essential characteristics of our pattern that they shall be adaptable to the method and material of its production, and make its reproduction quite practicable, it is sure to reappear more or less marred and incomplete.

The thing is to discover what kind of character and beauty the method will allow of--whether beauty or quality of line, or surface, or colour, or material; and if to be reproduced in a particular method or material, the design should be thought out in the method or material for which it is destined, rather than as a drawing on paper, and worked out accordingly, using every opportunity to secure the particular kind of beauty naturally belonging to such work in its completed form.

Thus we should naturally think of _planes of surface_ in modelled work, and the delicate play of light and shade, getting our equivalent for colour in the design and contrast of varied surfaces. In stained gla.s.s we should think of a pattern in lead lines inclosing one of translucent colour, each being interdependent and united to form a harmonious whole.

In textile design we should be influenced by the thought of the difference of use, plan, and purpose of the finished material; as the difference between a rich vertical pattern in silk, velvet, or tapestry, to be broken by folds as in curtains or hangings, and a rich carpet pattern, to be spread upon the unbroken level surface of a floor. The idea of the wall and floor should here influence us as well as the actual technical necessities of the loom. It would be part of the artistic purpose affecting the imagination and artistic motive, and working with the strictly technical conditions.

The mind must project itself, and see with the inner eye the effect of the design as it would appear in actual use, as far as possible.

Invention, knowledge, and experience will do the rest.

[Brush-Work]

Keeping, however, to strictly pictorial or graphic conditions--to the art of the point and the surface--with which, as designers and draughtsmen, we are more immediately concerned, we cannot forget certain technical considerations strictly belonging to the varieties of point and of surface, and their relations one to another. The flexible point of the brush, for instance, dipped in ink, or colour, has its own peculiar capacity, its own range of treatment, one might say, its own forms.

The management admits of immense variation of use and touch, and its range of depicting and ornamental power are very great: from the simpler leaf forms, which seem to be almost a reflection or shadow of the moist pointed brush itself, to the elaborate graphic drawing in line or light and shade.

[Ill.u.s.tration (f042): Brush Forms.]

In forming the leaf shape one begins with a light pressure, if at the point, and proceeds to increase it for the middle and broader end. On the same principle of regulation of pressure any brush forms may be built up. It is essential for freedom in working with the brush not to starve or stint it in moisture or colour. For ornamental forms a full brush should be used: otherwise they are apt to look dragged and meagre.

For a rich and flowing line also a full brush, however fine, is necessary. It is quite possible, however, to use it with a different aim, and to produce a sort of crumbling line when half dry, and also in colour-work for what is called dragging, by which tone, texture, or quality may be given to parts of a drawing. One should never lose sight, in using the brush as a drawing tool, of its distinctive quality and character, and impart it to all work done by its means.

[Ill.u.s.tration (f043): Direct Brush Expression of Animal Form.]

The direct touch with the full brush--to cultivate this is of enormous advantage to all artists, whatever particular line of art they may follow, since it may be said to be of no less value in design than it is in painting pure and simple. We can all feel the charm of the broad brush washes and emphatic brush touches of a master of water-colour landscape such as De Wint. This is mastery of brush and colour in one direction--tone and effect. A j.a.panese drawing of a bird or a fish may show it equally in another--character and form. A bit of Oriental porcelain or Persian tile may show the same dexterous charm and full-brush feeling exercised in a strictly decorative direction.

[Ill.u.s.tration (f044): j.a.panese Drawing of a Bird. From "The Hundred Birds of Bari."]

The empire of the brush, if we think of it in all its various forms and directions, is very large; and it commands, in skilled hands, both _line_ and _form_, in all their varieties, and leaves its impress in all the departments of art, from the humble but dexterous craftsman who puts the line of gold or colour round the edges of our cups and saucers, to the highly skilled and specialized painter of easel pictures--say the academician who writes cheques with his paint-brus.h.!.+

[Charcoal and Pencil]

Then we have the ordinary varieties of the firm point: charcoal, pencil, pen. Charcoal, being halfway between hard and soft--a sort of halfway house or bridge for one pa.s.sing from the flexible brush to the firm and hard points of pencil and pen--is first favourite with painters when they take to drawing. Its softness and removability adapts it as a tool for preliminary and preparatory sketching in for all purposes, and both for designer and painter; but it lends itself to both line and tone drawing, or to a mixture of both. It is therefore a very good material for rapid studies (say from the life) and the seizing of any effect of light and shade rapidly, since the ma.s.ses can be laid in readily, and greater richness and depth can be obtained in shorter time, perhaps, than by any other kind of pencil.

Charcoal is also very serviceable for large cartoon-work, since it is capable of both delicacy and force, and bears working up to any extent.

A slight rubbing of the finger gives half tones when wanted, and is often serviceable in giving greater solidity and finish to the work.

Then there is the lead pencil--the point-of-all-work, as it might be called--more generally serviceable than any other, whether for rapid sketches and jottings in the note-book, or careful and detailed drawings, or sketching in for the smaller kinds of design-work. It is also, of course, used for drawings which are afterwards "inked in." I do not think, however, that pen-work done in this way is so free or characteristic as when done direct, or at any rate quite freely, upon a mere scaffolding of preliminary lines, used only to make the plans for the chief ma.s.ses and forms.

Pencil drawing is capable of being carried to a greater pitch of delicacy and finish, and has a silvery quality all its own. It has not the force or range of charcoal, but in its own technical range it possesses many advantages. Its gray and soft line, however charming in itself, does not fit it for work where sharpness and precision of line and touch are required, as may be said to be the case with all work intended to be reproduced by some process of handicraft or manufacture, except some sorts of photo-engraving or lithography. We must therefore look to another implement to enable us to obtain these qualities, namely, the brush, the use and qualities of which I have already touched upon.

[The Pen]

There remains yet another point of the firm and decisive order, the pen, which enables us to get firmness and sharpness of line and precise definition, as well as considerable range of treatment and freedom of touch.

The pen seems to bear much the same relation to the brush as the lead pencil does to charcoal--not capable of such full and rich effects or such flowing freedom of line, but yet possessing its own beauty and characteristic kinds of expression. Its true province is in comparatively small scale work, and its natural a.s.sociation is with its sister-pen of literature in the domain of book-design and decoration, and black and white drawing for the press. Its varieties are endless, and the ingenuity of manufacturers continually places before us fresh choice of pen-points to work with; but though one occasionally meets with a good steel pen, I have found it too often fails one just when it is sufficiently worn to the right degree of flexibility. One returns to the quill, which can be cut to suit the particular requirements of one's work. For large bold drawing the reed-pen has advantages, and a pleasant rich quality of line.

But with whatever point we may work, the great object is to be perfectly at ease with it in drawing--to thoroughly master its use and capacities, so that in our search for that other command, of line and form, we may feel that we have in our hands a tool upon which we can rely, a trusty spear to bear down the many difficulties and discouragements that beset, like threatening dragons, the path of the art-student.

CHAPTER IV

Of the Choice of Form--Elementary Forms--s.p.a.ce-filling--Grouping-- a.n.a.logies of Form--Typical Forms of Ornament--Ornamental Units-- Equivalents in Form--Quant.i.ties in Design--Contrast--Value of Variations of Similar or Allied Forms--Use of the Human Figure and Animal Forms in Ornamental Design.

We were considering the choice and use of Line in the last chapter: its expressive characters and various methods. We now come to the no less important question to the designer and draughtsman--_The Choice of Form_.

If Line may be said to be the bone and sinew of design, Form is the substance and the flesh, and both are obviously essential to its free life and development.

[Elementary Forms]

The _cube_ and the _sphere_ give us the fundamental elements, or primal types from which are derived the multifarious, ever varying, and complex forms, the products of the forces and conditions of nature, or the necessitous inventiveness of art, just as we may take the square and the circle to be the parents of linear and geometric design.

[Ill.u.s.tration (f045a): Elementary Forms: Pyramid, Sphere, Cube, Hexagon, Cone.]

The cube and the sphere, the ellipse, the cone, and the pyramid, with other comparatively simple forms of solid geometry, present themselves to the student as elementary tests of draughtsmans.h.i.+p--of the power, that is, of representing solid bodies upon a plane surface. Such forms being more simple and regular than any natural forms, they are supposed to reduce the problem of drawing to its simplest conditions. They certainly afford very close tests of correctness of eye, making any fault in perspective or projection at once apparent.

[Ill.u.s.tration (f045b): Use of Elementary Forms in Architecture.]

To avoid, however, falling into mechanical ways, and to maintain the interest and give vitality to such studies, the relation of such forms to forms in nature and art should be borne in mind, and no opportunity missed of comparing them, or of seeking out their counterparts, corresponding principles, and variations, as well as their practical bearing, both functional and constructive; as in the case of the typical forms of flowers, buds, and seed-vessels, for instance, where the cone and the funnel, and the spherical, cylindrical, and tubular principles are constantly met with, as essential parts of the characters and organic necessities of the plant: the cone and the funnel mostly in buds and flower-petals for protection and inclosure of the pollen and seed germs, the tube for conducting the juices; the spherical form to resist moisture externally, or to hold it internally, or to avoid friction, and facilitate close storage, as in the case of seeds in pods. The seed-vessel of the poppy, for instance, has a curious little pent-house roof to s.h.i.+eld the interstices (like windows in a tower) till the seed is ripe and the time comes for it to be shaken out of the sh.e.l.l or pod.

A further practical reason for the prevalence of spherical form in seeds is that they may, when the outer covering or husk perishes, more readily roll out and fall into the interstices of the ground; or when, as in the case of various fruits, such as the apple and orange, the envelope itself is spherical and intended to carry their flat or pointed seeds to the ground, where it falls and rolls when ripe.

[Ill.u.s.tration (f046): Poppyheads.]

The cube and the various multiple forms may be found in crystals and basaltic rocks, as well as in organic nature, as, for instance, in the honeycomb of bees, where choice of form is a constructive necessity: the cube is in every sense of the word the corner-stone in architecture, and without squaring and plumbing no building could be constructed, while the cylindrical and conical principles of form are ill.u.s.trated in towers and roofs, spires and pinnacles. In architectural ornament and carved decoration the cube and sphere again form the basis, both forming ornaments themselves by mere recurrence and repet.i.tion, and also forming constructional bases of ornament.

[Ill.u.s.tration (f047): Apple Cut to Show Position of Seeds.]

[Dog-Tooth Ornament]

[Ill.u.s.tration (f048b): Dog-tooth Formed From Cube.]

A very simple but effective form of carved ornament characteristic of early Gothic work is what is known as the dog-tooth. This is formed simply by cutting a cube of stone into a pyramid, depressing the sides, and cutting them into geometric leaves, leaving the sharp angles of the pyramid from the base to the apex standing out in bold relief. In ground-plan this is simply composed geometrically of a rectangle divided diagonally into four equal parts, and by striking four semicircles from the centres of the four sides of the rectangle. Here we get a form of ornament in the flat which appears to have been very widely used, and reappears in the early art of nearly all races so far as I am aware. We find it, for instance, in a.s.syrian carving and in early Greek decoration, in China and j.a.pan, and in European mediaeval work of all kinds. Its charm perhaps lies in its simplicity of construction yet rich ornamental effect, either as carved work or as a flat painted diaper. It might also be used as the geometric basis of an elaborate repeating wall-pattern over a large surface.

[Ill.u.s.tration (f048a): Cube and Sphere in Architectural Ornament: Brick Dental, Ball Flower Moulding, and Dog-tooth Moulding.]