UNITY requires that all parts of a design be of similar expression. To have one part of a design based upon a poppy or bird with a section drawn naturalistic and another part conventionalized and possibly a third section in geometric arrangement is to produce disorder or dissimilarity, and yet such fault is apparent in a large proportion of designs.
ALL DESIGN FORMS CAN BE DIVIDED INTO FOUR DIVISIONS and these divisions can be defined as Naturalistic, Conventional, Geometric, and Abstract. If any design motif for a tile or any application is started in a Naturalistic manner, then all parts should be expressed in the same manner.
THE NATURALISTIC DIVISION OF DESIGN is where natural forms and growth arrangements are planned or designed within a given or arbitrary space. The decorative arrangement comes from carefully planning the subject so that it composes in a pleasing way within the space. The Japanese designs are good examples of this kind of decoration. It will be found that careful attention is given to the background spaces as well as to the parts of the subject being drawn. Strong outlines, double outlines and individual techniques or renderings further increase the decorative quality of a naturalistic design.
THE CONVENTIONAL DIVISION OF DESIGN is where a typical form from a nature growth is taken and repeated in regular repetition, or a general shape formed from a plant form and used to interpret the subject. For instance, a flower with several petals will have each petal different in contour, but in conventional design, one shape is chosen and this shape is repeated. While no two leaves are alike on the plant, one or two conventionalized shapes are determined and these shapes are then used throughout the design. The veins and stems of the flowers may be elaborated or the leaves may have their centers designed or “inhabited” so that added interest may be created in the subject.
THE GEOMETRICAL DIVISION OF DESIGN is when the subject is designed entirely with triangular, rectangular, square, oval, elliptical, or circular shapes, or where the outlines follow straight lines which may go at right angles to each other or in oblique directions. Such straight line designs are technically required for rug or textile designs and due to the ruggedness and strength or interest achieved through a straight line rendering are often adapted for decorating many other forms of applied art.
THE ABSTRACT DIVISION OF DESIGN is represented by that form of design which may have little direct representation of the natural forms, but has been developed from it. We find that the wave border of the Egyptians and the Greek fret are abstract designs of the water. The Peruvian Inca, the Aztec and North American Indian used abstract designs of the bird and other nature forms in their textiles and pottery. The abstract design requires a careful arrangement of line and form spaces, depending as it does on good design for interest rather than its identity to nature forms.
LINE UNITY is that principle which appeals to the eye by the relation of lines in the design to the space decorated. Curved lines for curved forms and straight lines in the designs decorating straight lined forms will do much toward making all parts consistent. A line not too curved and with a blending of straight lines with the curved direction produces a line of character and strength for design rendering.
A TEST OF GOOD DESIGN is to see if the main lines or “frame lines” are pleasing in direction, decorating the space, whether any more details are added or not. No amount of filling in and adding of motifs will perfect an imperfect beginning.
BLOCKING IN of general forms is considered essential in freehand drawing and it cannot be discarded in designing. First plan the main lines of growth of the design. Then block in the masses or motifs to be used. The details and connections as well as the technique of the design will then be a simple matter to solve.
THE GREATEST ENJOYMENT to the craftsman in any line of endeavor lies only through working out of Good Design.