In designs for such material one should aim at boldly blocked-out patterns in silhouette—bold leaf and fruit forms say—designed on the principle of the stencil.
Prints
With prints the range is of course freer, the material itself suggesting something lighter and more temporary. It seems highly probable that printed cotton was originally a substitute for embroidered linen or more sumptuous materials. There are certainly instances of very similar patterns in Indian and Persian work in silk embroidery, and also in printed cotton. In some cases the print is partly embroidered, which seems to mark a transitional stage, and recalls the lingering use of illumination in the early days of the printing press, in another department of art.
Anything that will repeat as a pattern in what can be produced by line, dot, and tints of colour, and engraved upon wood-blocks or copper rollers, can be printed of course; and, as is generally the case with an art which has no very obvious technical limitations, it is liable to be caught by the imitative spirit, and cheap and rapid production and demand for novelties (so-called) generally end in loss of taste and deterioration of quality, especially in design. From the artistic point of view we can only correct this by bearing in mind similar considerations to those which hold good as general principles and guides in designing for textiles generally, having regard to the object, purpose, and position—to the ultimate use of the material, and differentiating our designs, as in the case of other textile design accordingly.
Thus in the matter of plan and direction of line and character of form we shall at once find natural distinctions and divisions, as our design is for hanging, or spreading horizontally, or wearing; and these different functions will also determine scale and choice and treatment of form and colour.
There is no doubt that with patterns printed more range may be allowed than with patterns to be woven, where line and form are both controlled by the necessities of being reproduced by so many points to the inch. At the same time the object of all design and pattern work being the greatest beauty compatible with the material and conditions, one should seek, not such effects as merely test the capacity or ingenuity of the machine, but rather such as appear to be most decoratively appropriate and effective.
There appears to be no mechanical reason why cotton should not be printed all over with landscapes and graphic sketches, and people clothe themselves with them as with Christmas numbers, or turn their couches, chairs, and curtains into scrap albums, but there is every reason on the score of taste why these things should not be done.
