Part 5 (1/2)

[Side note: _Relation_]

A chief principle in all decorative design and treatment is that of Relation If the space to be ornan and treat The type n, and, as the effect of a page of type is broad and uniformly flat, the ornament must be made to count as broad and flat likewise The same principle holds equally in ht to be subordinate to the general effect of the architecture The wall is not to be considered merely as a convenient place on which to plaster a picture, its structural purpose n or treatue perspective distances and strong foreground accents be used without syoverns itself alone In other words, the decoration anic

[Illustration: FIG 62 ALFRED G JONES]

[Side note: _Classes of Decorative Design_]

Decorative illustrations may be broadly classified under three heads as follows: First, those wherein the composition and the treatment are both conventional, as, for exa 62 Second, where the composition is naturalistic, and the treatn Third, where the composition is decorative but not conventional, and the treat by Mr Walter Appleton Clark, Fig 63 (The latter subject is of such a character as to lend itself without convention to a decorative effect; and, although the figure is anic lines are so ehout as to preserve the decorative character, and the whole keeps its place on the page) Under this third head would be included those subjects of a pictorial nature whose composition and values are such as to make them reconcilable to a decorative use by es, as in the illustration by Mr

A Ca 64

[Illustration: FIG 63 W APPLETON CLARK]

[Illustration: FIG 64 A CAMPBELL CROSS]

[Side note: _The Decorative Outline_]

Another essential characteristic of decorative drawing is the e to the nature of the subject or individual taste The designs by Mr W Nicholson and Mr Selwyn Ie, for instance, are draith a fatness of outline not to be obtained with anything but a brush; while the outlines of M Boutet de Monvel, marked as they are, are evidently the work of ais in keeping with the scale of the outline adopted, so that this always retains its proper emphasis The decorative outline should never be broken, but should be kept firm, positive, and unifor, as , the line ought not to be made with a nervous stroke, but rather with a slow, deliberate drag The natural wavering of the hand need occasion no anxiety, and, indeed, it is often more helpful to the line than otherwise

[Illustration: FIG 65 MUCHA]

Perhaps there is no ure while still preserving the decorative outline Several examples of the skilful accomplishment of this problem are illustrated here Observe, for instance, how in the quaint Durer-like design by Mr Howard Pyle, Fig 66, the edges of the drapery-folds are e them white, and see hoonderfully effective the result is The san by Mr A G Jones, Fig 62, as well as in the ure in the Bradley poster, Fig 67

[Illustration: FIG 66 HOWARD PYLE]

[Illustration: FIG 67 WILL H BRADLEY