A firm and open quality of line, with bright black and white effects, not only has the most attractive decorative effect with type, but lends itself to the processes of reproduction for surface printing best, whether woodcut or one of the numerous forms of so-called automatic photo-engraving, as well as to the conditions of the printing press.
In all design-work which has to be subjected to processes of engraving and printing, clearness and definiteness of line is very necessary. Designs for textile printing of all kinds, for wall-papers, especially, require good firm drawing and definite colour planes. This does not, however, mean hardness of effect. A design should be clear and intelligible without being hard.
For weaving, again, definiteness in pattern designing is very necessary, since the design must be capable of being rendered upon the severe conditions of the point paper, by which it is only possible to produce curves by small successive angles (which sounds like a contradiction in terms). The size of these angles or points, of course, varies very much in the different kinds of textile with which pattern is incorporated, from the fine silk fabric, in which they are almost inappreciable, to carpets of all kinds, where they are emphatic; so that a certain squareness of mass becomes a desirable and characteristic feature in designs for these purposes, and, indeed, I think it should be more or less acknowledged in all textile design, in order to preserve its distinctive beauty and character.
The Artistic Purpose
Beauty and character.—In these lies the gist of all design. While the technical conditions, if fully understood, fairly met, and frankly acknowledged, are sure to give character to a design, for whatever purpose, beauty is not so easy to command. It is so delicate a quality, so complex in its elements, a question often of such nice balance and judgment—depending perhaps upon a hair's-breadth difference in the poise of a mass here, or the sweep of a curve there—that we cannot weave technical nets fine enough to catch so sensitive a butterfly. She is indeed a Psyche in art, both seeking and sought, to be finally won only by devotion and love.
This search for beauty—this Psyche of art—is the purely inspiring artistic purpose, as distinct from the technical and useful one, which should, perfectly reconciled and united with it, determine the form of our work.
In drawing or design we may seek particular qualities in line and form either of representation or of ornament. We may desire to dwell upon particular beauties either of object or subject. Say, in drawing from a cast or from natural form of any kind, we desire to dwell upon beauty of line or quality of surface. Well, since it is most difficult, if not impossible, to get everything at once, and nothing without some kind of sacrifice, we shall find that to give prominence to—to bring out—the particular quality in our subject (say beauty of line), it becomes necessary to subordinate other qualities to this. A drawing in pure outline of a figure may be a perfect thing in itself. The moment we begin to superadd shading, or lines expressive of relief of any kind, we introduce another element; we are aiming at another kind of truth or beauty; and unless we have also a distinctly ideal aim in this, we shall mar the simplicity of the outline without gaining any compensating advantage, or really adding to the truth or beauty of the drawing.