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TRANSCRIBER'S NOTES

In the original of this work, most pages are headed by a topic phrase, so that a topic can be located quickly by riffling the pages of the book. In this etext, the same topic phrases appear in right-aligned boxes near the text that begins that topic. Thus a topic can be found by scrolling the text and scanning the right margin.

The many images of the original are inline here as grayscale graphics in PNG format, scaled to 480 or 512 pixels width. When an image has a pale-gray border, the reader can click on the image to open a higher-resolution version.

In the original, the requirements of book design often caused the editors to place images some distance from the text that discussed them. In this etext some images are placed closer to the point where they are mentioned and thus not at their original page number. Each image has a number, for example f016. In the List of Illustrations and the Index, references to images by page number have been replaced by these figure numbers, which are linked to the images. Within the body text, references to a figure by its page number are linked to the image, not the specified page.

Two minor typos were corrected: thing to think on page 10 and intregal to integral on page 197.

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PREFACE

As in the case of "The Bases of Design," to which this is intended to form a companion volume, the substance of the following chapters on Line and Form originally formed a series of lectures delivered to the students of the Manchester Municipal School of Art.

There is no pretension to an exhaustive treatment of a subject it would be difficult enough to exhaust, and it is dealt with in a way intended to bear rather upon the practical work of an art school, and to be suggestive and helpful to those face to face with the current problems of drawing and design.

These have been approached from a personal point of view, as the results of conclusions arrived at in the course of a busy working life which has left but few intervals for the elaboration of theories apart from practice, and such as they are, these papers are now offered to the wider circle of students and workers in the arts of design as from one of themselves.

They were illustrated largely by means of rough sketching in line before my student audience, as well as by photographs and drawings. The rough diagrams have been re-drawn, and the other illustrations reproduced, so that both line and tone blocks are used, uniformity being sacrificed to fidelity.

WALTER CRANE.

Kensington, July, 1900.

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CONTENTS

• CHAPTER I
• Origin and Function of Outline—Silhouette—Definition of Boundaries by—Power of Characterization by—Formation of Letters—Methods of Drawing in Line—The Progressive Method—The Calligraphic Method—The Tentative Method—The Japanese Direct Brush Method—The Oval Method—The Rectangular Method—Quality of Line—Linear Expression of Movement—Textures—Emotion—Scale of Linear Expression
• CHAPTER II
• The Language of Line—Dialects—Comparison of the Style of Various Artists in Line—Scale of Degrees in Line—Picture Writing—Relation of Line to Form—Two Paths—The Graphic Purpose—Aspect—The Ornamental Purpose—Typical Treatment or Convention—Rhythm—Linear Plans in Pattern Designing—Wall-paper Design—Controlling Forms—Memory—Evolution in Design—Variety in Unity—Counterbalance—Linear Logic—Recurring Line and Form—Principle of Radiation—Range and Use of Line
• CHAPTER III
• Of the Choice and Use of Line—Degree and Emphasis—Influence of the Photograph—The Value of Emphasis—The Technical Influence—The Artistic Purpose—Influence of Material and Tools—Brushwork—Charcoal— Pencil—Pen
• CHAPTER IV
• Of the Choice of Form—Elementary Forms—Space-filling—Grouping— Analogies of Form—Typical Forms of Ornament—Ornamental Units— Equivalents in Form—Quantities in Design—Contrast—Value of Variations of Similar or Allied Forms—Use of the Human Figure and Animal Forms in Ornamental Design
• CHAPTER V
• Of the Influence of Controlling Lines, Boundaries Spaces, and Plans in Designing—Origin of Geometric Decorative Spaces and Panels in Architecture—Value of Recurring Line—Tradition—Extension— Adaptability—Geometric Structural Plans—Frieze and Field—Ceiling Decoration—Co-operative Relation
• CHAPTER VI
• Of the Fundamental Essentials of Design: Line, Form, Space—Principles of Structural and Ornamental Line in Organic Forms—Form and Mass in Foliage—Roofs—The Mediæval City—Organic and Accidental Beauty— Composition: Formal and Informal—Power of Linear Expression—Relation of Masses and Lines—Principles of Harmonious Composition
• CHAPTER VII
• Of the Relief of Form—Three Methods—Contrast—Light and Shade, and Modelling—The Use of Contrast and Planes in Pattern Designing— Decorative Relief—Simple Linear Contrast—Relief by Linear Shading— Different Emphasis in relieving Form by Shading Lines—Relief by means of Light and Shade alone without Outline—Photographic Projection—Relief by different Planes and Contrasts of Concave and Convex Surfaces in Architectural Mouldings—Modelled Relief— Decorative Use of Light and Shade, and different Planes in Modelling and Carving—Egyptian System of Relief Sculpture—Greek and Gothic Architectural Sculpture, influenced by Structural and Ornamental Feeling—Sculptural Tombs, Medals, Coins, Gems—Florentine Fifteenth-century Reliefs—Desiderio di Settignano
• CHAPTER VIII
• Of the Expression of Relief in Line-drawing—Graphic Aim and Ornamental Aim—Superficial Appearance and Constructive Reality— Accidents and Essentials—Representation and Suggestion of Natural Form in Design—The Outward Vision and the Inner Vision
• CHAPTER IX
• Of the Adaptation of Line and Form in Design, in various materials and methods—Mural Decoration—Fresco-work of

the Italian Painters—Modern Mural Work—Mural Spacing and Pattern Plans— Scale—The Skirting—The Dado—Field of the Wall—The Frieze— Panelling—Tapestry—Textile Design—Persian Carpets—Effect of Texture on Colour—Prints—Wall-paper—Stained Glass

CHAPTER X

Of the Expression and Relief of Line and Form by Colour—Effect of same Colour upon different Grounds—Radiation of Colour—White Outline to clear Colours—Quality of Tints relieved upon other Tints—Complementaries—Harmony—The Colour Sense—Colour Proportions—Importance of Pure Tints—Tones and Planes—The Tone of Time—Pattern and Picture—A Pattern not necessarily a Picture, but a Picture in principle a Pattern—Chiaroscuro—Examples of Pattern-work and Picture-work—Picture-patterns and Pattern-pictures

INDEX

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LIST OF ILLUSTRATIONS

href="@public@vhost@g@gutenberg@html@files@25290@[email protected]#f027" class="pginternal" tag="{http://www.w3.org/1999/xhtml}a">f027 Method of Testing a Repeating Pattern f028 Sketch to show how a Pattern of Diverse Elements may be harmonized by Unity of Inclosing and Intermediary Lines f029 The Principle of Counterbalance in different Systems of Design f030 Border Units and Border Motive f031 Recurring Line and Form in Border Motives f032 Radiating Principle of Line in Natural Form f033 Radiating Lines of the Pectoral Muscles and Ribs f034 Vaulting of Chapter House, Westminster f035 Lines of Characterization of Feathers and Shells f036 Pen Drawing of Fruit f037 Effect of different Emphasis in Treatment of the same Designs f038, f039 Effect of different Emphasis in the Drawing of Landscape f040 Example of Page Treatment to show Ornamental Relation between Text and Pictures f041a Suggestion for a Carpet Pattern and Abstract Treatment of the same on Point Paper as detail of Brussels Carpet f041b Brush Forms f042 Direct Brush Expression of Animal Form f043 Japanese Drawing of a Bird. From "The Hundred Birds of Bari" f044 Elementary Geometrical Forms f045a Use of the same Forms in Architecture f045b Poppy-heads f046 Apple cut to show Position of Seeds f047 Cube and Sphere in Architectural Ornament f048a Filling of Square Space f049a Filling of Circular Space f049b Inlay Design: Pattern Units and Motives f050 Grouping of Allied Forms: Composition of Curves f051a Grouping of Allied Forms: Composition of Angles f051b Still-life Group illustrative of Wood-engraving f052 Japanese Diagonal Pattern f053 Treatment of Fruit and Leaf Forms: Corresponding Curvature f054 Correspondence in General Contour between Leaf and Tree f055a Some Analogies in Form

class="pginternal" tag="{http://www.w3.org/1999/xhtml}a">f055b Tree of Typical Pattern Forms, Units and Systems f056 Sketches to show Use of Counterbalance, Quantity, and Equivalents in Designing f057 Quantities and Counterchange of Border and Field in Carpet Motives f058 Sketches to illustrate Value of different Quantities in Persian Rugs f058-f061 Recurrence and Contrast in Border Motives f062 Use of inclosing Boundaries in Designing Animal Forms in Decorative Pattern f063a Decorative Spacing of Figures within Geometric Boundaries f063b Simple Linear Motives and Pattern Bases f064 Use of Intervals in Repeating the same Ornamental Units f065 Designs of Floral, Human, and Animal Forms, governed by Shape of inclosing Boundary f066 The Parthenon: Sketch to show Spaces used for Decorative Sculpture in Greek Architecture f067 The Tower of the Winds, Athens f068 Sketch of part of the Arch of Constantine to show spaces for Decorative Sculpture in Roman Architecture f069 Byzantine (Mosaic) Treatment of Architectural Structural Features: Apse, S. Vitale, Ravenna f070 Detail of Canopy of Tomb of Gervaise-Alard, Winchelsea f071 Walberswick Church: West Door f072 Miserere in St. David's Cathedral f073 Recessed Panel from the Tomb of Bishop John Morgan, St. David's Cathedral f074 Corbel from Bishop Vaughan's Chapel, St. David's Cathedral f075 Gothic Tile Pattern, St. David's Cathedral f076 Surface Pattern Motives derived from Lines of Structure f077a Repeating Patterns built upon Square and Circular Bases f077b Plan of a Drop Repeat f078 Sketch Designs to show Relation between Frieze and Field in Wall-paper f079 Principles of Structural and Ornamental Line in Natural Forms f080 Radiating, Recurring and Counterbalancing Lines in the Structure of the Skeleton and the Muscles f081a General Principles of Line and Form in the Branching and Foliage Masses of Trees f081b Principles of Structure in Foliage Masses f082 Albert Dürer: Detail from "The Prodigal Son" f083 Albert Dürer: St. Anthony f084 Roof-lines:

Rothenburg f085 St. Margaret Street, Canterbury f086 Figure Designs controlled by Geometric Boundaries f087, f088 Expression of Storm and Calm in Landscape f089 Expression of Repose and Action f090 Controlling Lines of Movement: Movement in a Procession f091a Lines left by a Watercourse—Lines governing fallen Débris from a Quarry f091b Relief of Form, (1) by Outline, (2) by Contrast, (3) by Light and Shade f092 Relief of Form and Line in Pattern Design by means of Contrast and the Use of Planes f093 Treatment of Mantling (14th-16th centuries) f094a, f094b Brass of Martin de Visch, Bruges, 1452 f095 Relief in Pattern Design by means of Simple Linear Contrasts f096a Relief by adding Shading Lines to Outline f097a Relief by Diagonal Shading f097b Different Method and different Emphasis in Relieving Form by Shading Lines f098 Albert Dürer's Principle in the Treatment of Drapery: From the Woodcut in the "Life of the Virgin" Series f099 Albert Dürer: Pen-drawing f100 Filippino Lippi: Study of Drapery f101 Raphael: Studies of Drapery f102 Relief by means of Light and Shade alone, in Pen-drawing without Outline f103a Relief by means of White Line on a Dark Ground and vice versâ f103b Relief in Architectural Mouldings f104 Roman Treatment of Corinthian Order, Forum of Nerva, Rome f105 Egyptian Relief Sculpture: Thebes f106 Greek Relief: Eleusis f107 Egyptian Relief: Denderah f107 Chartres Cathedral: Carving on West Front f108 Chartres Cathedral: Tympanum of Central Door of West Front f109 Medals of the Lords of Mantua, Cesena, and Ferrara, by Vittore Pisano f110 Treatment of Draped Figure in Black on White Ground and vice versâ f111a Treatment of the same Figure in Light and Shade f111b The Graphic Principle of the Expression of Form by Light

and Shade; with and without Outline f112 Linear Expression of Features, Feathers and Fur: Notes from Nature f113 Sketches to illustrate the Graphic and the Decorative Treatment of Draped Figures f114 Decorative Treatment of Birds f115 Floral Designs upon Typical Inclosing Shapes of Indian and Persian Ornament f116 Dancing Figure with the Governing Lines of the Movement f117a Lines of Floral Growth and Structure: Lily and Rose f117b Coast-lines, Gulf of Nauplia f118a Lines of Movement in Water, Shallow Stream over Sand f118b Giotto: Chastity (Lower Church, Assisi) f119 Pinturicchio: Mural Painting (Piccolomini Chapel, Siena) f120 Diagram showing the Principal Fundamental Plans or Systems of Line governing Mural Spacing and Decorative Distribution f121 Diagram to show how the apparent Depth of a Space is increased by the Use of Vertical Lines, and its apparent Width by the Use of Horizontal Lines f122 Decorative Spacing of the Wall: Sketches (to half-inch scale) to show different Treatment and Proportions f123 Figure of Laura, from the Burgundian Tapestries: The Triumphs of Petrarch, in the South Kensington Museum f124 Pinturicchio: Fresco in the Appartimenti Borgia f125 Portion of Detail of the Holy Carpet of the Mosque of Ardebil: Persian, sixteenth century f126 Sketch to illustrate Treatment of Borders in a Persian Rug f127 Arras Tapestry: Diagrams to show the Principle of Working and Surface Effect f128 Contrasting Surfaces in Warp and Weft in Woven Silk Hanging f129 Indian printed Cotton Cover: South Kensington Museum f130 Stained Glass Treatment: Inclosure of Form and Colour by Lead Lines f131 Sketch to show Effect of the same Colour and Form upon different Coloured Grounds f132 Principle of the Effect of the Blending or Blurring of Colours at their Edges f133 Use of Black and White Outline to clear the Edges of Coloured Forms upon different Coloured Ground f133 J. Van Eyck: Portrait of J. Arnolfini and his Wife f134 Ver Meer of Delft: Lady at a Spinet f135 Botticelli: The Nativity f136 Holbein: The Ambassadors f137 Botticelli: Madonna and Child f138 Crivelli: The Annunciation

tag="{http://www.w3.org/1999/xhtml}a">f139 Perugino: The Virgin in Adoration with St. Michael and St. Raphael, and Tobias f140 Titian: Bacchus and Ariadne f141 Madox Brown: Christ Washing St. Peter's Feet f142

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