I recall two innocent and entertaining methods from the traditions of the nursery, which appeal at once in a curious way to both the oral and graphic senses, and unite story and picture in one. These are illustrated on p. [28]. By such devices a child learns to associate line and form, unconsciously and step by step defining form in the use of, or pursuit of, line.

It would be very entertaining and agreeable if we could carry the principle further, and get a passable study from the antique, for instance, by a similar process. In line-drawing we may, however, always tell some story or fact, or character, phase, or idea.

The Graphic Purpose

But supposing we have mounted our steed Form, and taken our bridle Line in hand, and have started riding at large in the vast domain of nature, with the primary object of finding and hunting down truth at last; we soon perceive that there are so many truths, or rather that truth, even of natural fact, has so many sides, that it is difficult to make up our mind which one to pursue. Thought, however, will soon discover that in this pursuit of truth we strike a road that naturally divides itself, or branches out, into two main paths distinct in aim. These two paths in art have been called by many names; they occasionally cross each other, or overlap, and are sometimes blended, or even confused; but it will be useful for our present purpose to keep them very distinct. I will term them, for convenience:

  1. The Graphic Purpose. (Accidental form.)
  2. The Ornamental Purpose. (Typical form.)

Our use of line will largely depend upon which of these two it is our object to pursue. Now when we look at anything with intent to draw—say a leafy bough as it grows in the sunshine—we see great complexity of form and surface-lighting. The leaves, perhaps, take all manner of variations of the typical form, and are set at all sorts of angles. In making a rapid sketch with the object of getting the appearance of the bough, we naturally dwell upon these accidents and superficial facts. At the same time, with nothing but line to express them, we are compelled to use a kind of convention, though our aim be purely naturalistic, to get a faithful portrait of the bough.

We must make our line as descriptive as possible, defining the main forms boldly, and blocking in broadly the main masses of form and light and shade. We are now aiming at the general look of the thing. We are striving to grasp the facts of Aspect. We are concerned with the purely graphic purpose, to make a picture upon paper.