Line and Form, by Walter Crane

Table of Contents


Chapter i

Origin and Function of Outline — Silhouette — Definition of Boundaries by — Power of Characterization by — Formation of Letters — Methods of Drawing in Line — The Progressive Method — The Calligraphic Method — The Tentative Method — The Japanese Direct Brush Method — The Oval Method — The Rectangular Method — Quality of Line — Linear Expression of Movement — Textures — Emotion — Scale of Linear Expression.

Chapter ii

The Language of Line — Dialects — Comparison of the Style of various Artists in Line — Scale of Degrees in Line — Picture Writing — Relation of Line to Form — Two Paths — The Graphic Purpose — Aspect — The Ornamental Purpose — Typical Treatment or Convention — Rhythm — Linear Plans in Pattern Designing — Wall-paper Design — Controlling Forms — Memory — Evolution in Design — Variety in Unity — Counterbalance — Linear Logic — Recurring Line and Form — Principle of Radiation — Range and Use of Line.

Chapter iii

Of the Choice and Use of Line — Degree and Emphasis — Influence of the Photograph — The Value of Emphasis — The Technical Influence — The Artistic Purpose — Influence of Material and Tools — Brush-work — Charcoal — Pencil — Pen.

Chapter iv

Of the Choice of Form — Elementary Forms — Space-filling — Grouping — Analogies of Form — Typical Forms of Ornament — Ornamental Units — Equivalents in Form — Quantities in Design — Contrast — Value of Variations of Similar or Allied Forms — Use of the Human Figure and Animal Forms in Ornamental Design.

Chapter v

Of the Influence of Controlling Lines, Boundaries, Spaces, and Plans in Designing — Origin of Geometric Decorative Spaces and Panels in Architecture — Value of Recurring Line — Tradition — Extension — Adaptability — Geometric Structural Plans — Frieze and Field — Ceiling Decoration — Co-operative Relation.

Chapter vi

Of the Fundamental Essentials of Design: Line, Form, Space — Principles of Structural and Ornamental Line in Organic Forms — Form and Mass in Foliage — Roofs — The Mediæval City — Organic and Accidental Beauty — Composition: Formal and Informal — Power of Linear Expression — Relation of Masses and Lines — Principles of Harmonious Composition.

Chapter vii

Of the Relief of Form — Three Methods — Contrast — Light and Shade, and Modelling — The Use of Contrast and Planes in Pattern Designing — Decorative Relief — Simple Linear Contrast — Relief by Linear Shading — Different Emphasis in relieving Form by Shading Lines — Relief by means of Light and Shade alone without Outline — Photographic Projection — Relief by different Planes and Contrasts of Concave and Convex Surfaces in Architectural Mouldings — Modelled Relief — Decorative Use of Light and Shade, and different Planes in Modelling and Carving — Egyptian System of Relief Sculpture — Greek and Gothic Architectural Sculpture, influenced by Structural and Ornamental Feeling — Sculptural Tombs, Medals, Coins, Gems — Florentine Fifteenth-century Reliefs — Desideriodi Settignano.

Chapter viii

Of the Expression of Relief in Line-drawing — Graphic Aim and Ornamental Aim — Superficial Appearance and Constructive Reality — Accidents and Essentials — Representation and Suggestion of Natural Form in Design — The Outward Vision and the Inner Vision.

Chapter ix

Of the Adaptation of Line and Form in Design, in various materials and methods — Mural Decoration — Fresco-work of the Italian Painters — Modern Mural Work — Mural Spacing and pattern Plans — Scale — The Skirting — The Dado — Field of the Wall — The Frieze — Panelling — Tapestry — Textile Design — Persian Carpets — Effect of Texture on Colour — Prints — Wall-paper — Stained Glass.

Chapter x

Of the Expression and Relief of Line and Form by Colour — Effect of same Colour upon different Grounds — Radiation of Colour — White Outline to clear Colours — Quality of Tints relieved upon other Tints — Complementaries — Harmony — The Colour Sense — Colour Proportions — Importance of Pure Tints — Tones and Planes — The Tone of Time — Pattern and Picture — A Pattern not necessarily a Picture, but a Picture in principle a Pattern — Chiaroscuro — Examples of Pattern-work and Picture-work — Picture-patterns and Pattern-pictures.


Last updated Thursday, March 13, 2014 at 21:29