Flowers or figures would be capable of the same simple and abstract treatment; and almost any form in nature, reduced to its simplest elements of recurring line and mass, and rhythmically disposed, would give us distinct decorative motives.
The Ornamental Aim
It is quite open to the designer to select his lines and forms straight from nature, and, bearing in mind the necessity for selection of the best ornamental elements, for a certain simplification, and the rhythmical treatment before mentioned, it is good to do so, as the work is more likely to have a certain freshness than if some of the well-known historic forms of ornament are used again. We may, however, learn much from the ornamental use of these forms, and use similar forms as the boundaries of the shape of our pattern units and masses.
It is good practice to take a typical shape such as the Persian radiating flower or pine-apple, and use it as the plan for quite a different structure in detail, taking some familiar English flower as our motive. The same with the Indian and Persian palmette type. It is also desirable, as before pointed out, to draw sprays within formal boundaries for ornamental use. By such methods we may not only learn to appreciate the ornamental value of such forms, but by such adaptation and re-combination produce new varieties of ornament (see p. [217]).
We may perceive how distinct are the two aims as between simple graphic drawing, or delineation, and what we call design, or conscious arrangements of line or form. While planes of relief, varied form and surface, values of light and shade, and accidental characteristics are rather the object with the graphic draughtsman, typical form and structure, and recurring line and mass, are sought for by the ornamentist. Both series of facts, or qualities, or characteristics, are in nature.
Selection
Judicious selection, however, is the test of artistic treatment; selection, that is, with a view to the aim and scope of the work. The truth of superficial appearance or accidental aspect is one sort of truth: the truth of the actual constructive characteristics—be they of figure, flower, or landscape—is another. Both belong to the thing we see—to the object we are drawing; but we shall dwell upon one truth or set of truths rather than the other, in accordance with our particular artistic aim, though, whatever this may be, and in whatever direction it may lead us, we shall find that selection of some sort will be necessary.