Line and Form (1900)

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 1

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 23

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 51

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 73

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 108

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 Mediaeval City--Organic and Accidental Beauty--Composition: Formal and Informal--Power of Linear Expression--Relation of Masses and Lines--Principles of Harmonious Composition 138

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 165

CHAPTER VIII. Of the Expression of Relief in Line-Drawing--Graphic Aim and

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 204

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 224

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 256

INDEX 283

LIST OF ILLUSTRATIONS

The Origin of Outline f002

Silhouettes f003

Coast and Mountain Lines--Gulf of Nauplia f004

Proportions of Roman Capital Letters and of lower-case f005a German text. From Durer's "Geometrica"

The Progressive Method of Drawing in Line f006a

The Calligraphic Method f007a

The Tentative Method f007b

The Oval and Rectangular Methods f008

Lines of Characterization in the Form and Feature of f009 Flowers: Lily and Poppy

Silhouette of Beech Leaves and Line Rendering of the same f010a

Lines of Movement f010b

Effect of Wind upon Trees f011

Line Arrangement in ribbed Sea-sand f012

Lines of different Textures, Structures, and Services f013

Lines of Exaltation and Rejoicing in Unison. The Morning f014 Stars, after William Blake

Lines of Grief and Dejection: Designs from Flaxman's Homer f015

Landscape f016

Scale of various Degrees of Linear Weight and Emphasis f017

Curvilinear Scale of Direction f018

Rectangular Scale of Direction f018

Picture Writing f019

Olive Branch, from Nature f020

Olive Branch, simplified in Decorative Treatment f021

Study of Horned Poppy f022

Adaptation of Horned Poppy in Design: Vertical Panel for f023 Needlework

Question and Answer in Line f024, f025

Diagram showing the Use of a Geometric Basis in Designing a f026 Repeating Pattern

Use of Controlling Boundaries in Designing Sprays f027

Method of Testing a Repeating Pattern f028

Sketch to show how a Pattern of Diverse Elements may be f029 harmonized by Unity of Inclosing and Intermediary Lines

The Principle of Counterbalance in different Systems of f030 Design

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 f038, f039 Designs

Effect of different Emphasis in the Drawing of Landscape f040

Example of Page Treatment to show Ornamental Relation f041a between Text and Pictures

Suggestion for a Carpet Pattern and Abstract Treatment of f041b the same on Point Paper as detail of Brussels Carpet

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 f055b

Tree of Typical Pattern Forms, Units and Systems f056

Sketches to show Use of Counterbalance, Quantity, and f057 Equivalents in Designing

Quantities and Counterchange of Border and Field in Carpet f058 Motives

Sketches to illustrate Value of different Quantities in f058-f061 Persian Rugs

Recurrence and Contrast in Border Motives f062

Use of inclosing Boundaries in Designing Animal Forms in f063a Decorative Pattern

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 f066 Shape of inclosing Boundary

The Parthenon: Sketch to show Spaces used for Decorative f067 Sculpture in Greek Architecture

The Tower of the Winds, Athens f068

Sketch of part of the Arch of Constantine to show spaces for f069 Decorative Sculpture in Roman Architecture

Byzantine (Mosaic) Treatment of Architectural Structural f070 Features: Apse, S. Vitale, Ravenna

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. f074 David's Cathedral

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 f079 Wall-paper

Principles of Structural and Ornamental Line in Natural f080 Forms

Radiating, Recurring and Counterbalancing Lines in the f081a Structure of the Skeleton and the Muscles

General Principles of Line and Form in the Branching and f081b Foliage Masses of Trees

Principles of Structure in Foliage Masses f082

Albert Durer: Detail from "The Prodigal Son" f083

Albert Durer: 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 Debris f091b from a Quarry

Relief of Form, (1) by Outline, (2) by Contrast, (3) by f092 Light and Shade

Relief of Form and Line in Pattern Design by means of f093 Contrast and the Use of Planes

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 f098 Shading Lines

Albert Durer's Principle in the Treatment of Drapery: From f099 the Woodcut in the "Life of the Virgin" Series

Albert Durer: 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 f103a without Outline

Relief by means of White Line on a Dark Ground and vice f103b versa

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 f110 Vittore Pisano

Treatment of Draped Figure in Black on White Ground and f111a vice versa

Treatment of the same Figure in Light and Shade f111b

The Graphic Principle of the Expression of Form by Light and f112 Shade; with and without Outline

Continue reading Line and Form (1900) free in the Wunder reader →