I would, therefore, rather begin with the constructive, and adaptive, side of art. Let a student begin by some knowledge of architectural construction and form. Let him thoroughly understand the connection, both historic and artistic, between art and architecture. Let him become thoroughly imbued with a sense of the essential unity of art, and not, as is now so often the case, be taught to practise some particular technical trick, or meaningless elaboration; or be led to suppose that the whole object of his studies is to draw or paint any or every object from the pictorial point of view exclusively. Let the two sides of art be clearly and emphatically put before him, which may be distinguished broadly as: (1) Aspect, or the imitative; (2) Adaptation, or the imaginative. Let the student see that it is one thing to be able to make an accurate presentment of a figure, or any object, in its proper light and shade and relief in relation to its background and surroundings; and quite another to express them in outline, or to make them into organic pieces of decoration to fit a given space.
Then, again, he should perceive how the various media and materials of workmanship naturally determine the character and treatment of his design, while leaving ample range for individual choice and treatment.
Royal College of Art: Design School under
Prof. Lethaby
Studies in Counterchange.
By W. G. Spooner
The constructive and creative capacity may exist in a high degree without any corresponding power of drawing in the pictorial sense, and considerable proficiency in some of the simpler forms of various handicrafts, such as ornamental modelling in relief, wood-carving, and repoussé work, is quite possible of attainment by quite young people; whereas the perception of certain subtleties in pictorial methods of representation, such as perspective, planes, and values, and the highly selective sense which deals with them are matters of matured mental perception, as well as technical experience and practical skill. The same is true as to power of design. It is a question of growth.
So that there are natural reasons for a primary training in some forms of handicraft, which, while affording the same scope for artistic feeling, present simpler problems in design and workmanship, and give a tangible and substantial foundation to start with.
In thus giving the first places in a course of study in art to architecture, decorative design, and handicraft we are only following the historic order of their progress and development. When the arts of the Middle Ages culminated in the work of the great painters of the earlier Renascence, their work showed how much more than makers of easel pictures they were, so that a picture, apart from its central interest and purpose was often a richly illustrated history of contemporary design in such things.
Royal College of Art: Design School under Prof. Lethaby