Perhaps there is no more difficult thing to do well than to model the figure while still preserving the decorative outline. Several examples of the skilful accomplishment of this problem are illustrated here. Observe, for instance, how in the quaint Dürer-like design by Mr. Howard Pyle, Fig. 66, the edges of the drapery-folds are emphasized in the shadow by keeping them white, and see how wonderfully effective the result is. The same device is also to be noticed in the book-plate design by Mr. A. G. Jones, Fig. 62, as well as in the more conventional treatment of the black figure in the Bradley poster, Fig. 67.
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| FIG. 66 | HOWARD PYLE |
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| FIG. 67 | WILL H. BRADLEY |
Color In the rendering of decorative subjects, the Color should be, as much as possible, designed. Whereas a poster, which is made with a view to its entire effect being grasped at once, may be rendered in flat masses of color, the head- or tail-piece for a decorative book-page should be worked out in more detail, and the design should be finer and more varied in color. The more the color is attained by means of pattern, instead of by mere irresponsible lines, the more decorative is the result. Observe the color-making by pattern in the book-plate by Mr. P. J. Billinghurst, Fig. 68. A great variety of textures may be obtained by means of varied patterns without affecting the breadth of the color-scheme. This may be noticed in the design last mentioned, in which the textures are extremely well rendered, as well as in the poster design by Mr. Bradley for the Chap-Book, just referred to.
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| FIG. 68 | P. J. BILLINGHURST |
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| FIG. 69 | "BEGGARSTAFF BROTHERS" |
The color-scheme ought to be simple and broad. No set rules can be laid down to govern its disposition, which must always have reference to the whole design. The importance of employing such a broad and simple scheme in decorative drawing needs no better argument than the effective poster design by the "Beggarstaff Brothers," Fig. 69, and that by Mr. Penfield, Fig.70. Of course the more conventional the design the less regard need be paid to anything like a logical disposition of color. A figure may be set against a black landscape with white trees without fear of criticism from reasonable people, provided it looks effective there.
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| FIG. 70 | EDWARD PENFIELD |
Modern Decorative Draughtsmen A word or two, in conclusion, concerning some of the modern decorative draughtsmen. Of those who work in the sixteenth century manner, Mr. Howard Pyle is unquestionably the superior technician. His line, masterly in its sureness, is rich and charged with feeling. Mr. H. Ospovat, one of the younger group of English decorators, has also a charming technique, rather freer than that of Mr. Pyle, and yet reminding one of it. Mr. Louis Rhead is another of the same school, whose designs are deserving of study. The example of his work shown in Fig. 71—excellent both in color and in drawing—is one of his earlier designs. Mr. J. W. Simpson, in the book-plate, Fig. 72, shows the broadest possible decorative method; a method which, while too broad for anything but a poster or a book-label, is just what the student should aim at being able to attain.
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| FIG. 71 | LOUIS J. RHEAD |