TRANSCRIBER'S NOTES

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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 In the [List of Illustrations] and the [Index], references to images by page number have been replaced by these figure numbers, which are linked to the images.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.

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.

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

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 German text. From Dürer's "Geometrica	[f005a]
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 Flowers: Lily and Poppy	[f009]
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 Stars, after William Blake	[f014]
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 Needlework	[f023]
Question and Answer in Line	[f024], [f025]
Diagram showing the Use of a Geometric Basis in Designing a Repeating Pattern	[f026]
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 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	[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	[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]