Chapter I: 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.

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 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
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