LINE & FORM

BY WALTER CRANE

LONDON: G. BELL & SONS, LTD.

First published, medium 8vo, 1900.
Reprinted, crown 8vo, 1902, 1904, 1908, 1912, 1914.
CHISWICK PRESS: CHARLES WHITTINGHAM AND CO.
TOOKS COURT, CHANCERY LANE, LONDON

TRANSCRIBER'S NOTES

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Two minor typos were corrected: thing to think on page 10 and intregal to integral on page 197.

PREFACE

As in the case of "The Bases of Design," to which this is intended to form a companion volume, the substance of the following chapters on Line and Form originally formed a series of lectures delivered to the students of the Manchester Municipal School of Art.

There is no pretension to an exhaustive treatment of a subject it would be difficult enough to exhaust, and it is dealt with in a way intended to bear rather upon the practical work of an art school, and to be suggestive and helpful to those face to face with the current problems of drawing and design.

These have been approached from a personal point of view, as the results of conclusions arrived at in the course of a busy working life which has left but few intervals for the elaboration of theories apart from practice, and such as they are, these papers are now offered to the wider circle of students and workers in the arts of design as from one of themselves.

They were illustrated largely by means of rough sketching in line before my student audience, as well as by photographs and drawings. The rough diagrams have been re-drawn, and the other illustrations reproduced, so that both line and tone blocks are used, uniformity being sacrificed to fidelity.

WALTER CRANE.

Kensington, July, 1900.

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—Brushwork—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—Desiderio di 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
• INDEX

LIST OF ILLUSTRATIONS

OF LINE AND FORM

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.

Outline, one might say, is the Alpha and Omega of Art. It is the earliest mode of expression among primitive peoples, as it is with the individual child, and it has been cultivated for its power of characterization and expression, and as an ultimate test of draughtsmanship, by the most accomplished artists of all time.

The old fanciful story of its origin in the work of a lover who traced in charcoal the boundary of the shadow of the head of his sweetheart as cast upon the wall by the sun, and thus obtained the first profile portrait, is probably more true in substance than in fact, but it certainly illustrates the function of outline as the definition of the boundaries of form.

Silhouette

As children we probably perceive forms in nature defined as flat shapes of colour relieved upon other colours, or flat fields of light on dark, as a white horse is defined upon the green grass of a field, or a black figure upon a background of snow.

Definition of Boundaries

To define the boundaries of such forms becomes the main object in early attempts at artistic expression. The attention is caught by the edges—the shape of the silhouette which remains the paramount means of distinction of form when details and secondary characteristics are lost; as the outlines of mountains remain, or are even more clearly seen, when distance subdues the details of their structure, and evening mists throw them into flat planes one behind the other, and leave nothing but the delicate lines of their edges to tell their character. We feel the beauty and simplicity of such effects in nature. We feel that the mind, through the eye resting upon these quiet planes and delicate lines, receives a sense of repose and poetic suggestion which is lost in the bright noontide, with all its wealth of glittering detail, sharp cut in light and shade. There is no doubt that this typical power of outline and the value of simplicity of mass were perceived by the ancients, notably the Ancient Egyptians and the Greeks, who both, in their own ways, in their art show a wonderful power of characterization by means of line and mass, and a delicate sense of the ornamental value and quality of line.

Formation of Letters

Regarding line—the use of outline from the point of view of its value as a means of definition of form and fact—its power is really only limited by the power of draughtsmanship at the command of the artist. From the archaic potters' primitive figures or the rudimentary attempts of children at human or animal forms up to the most refined outlines of a Greek vase-painter, or say the artist of the Dream of Poliphilus, the difference is one of degree. The tyro with the pen, learning to write, splotches and scratches, and painfully forms trembling, limping O's and A's, till with practice and habitude, almost unconsciously, the power to form firm letters is acquired.

Writing, after all, is but a simpler form of drawing, and we know that the letters of our alphabet were originally pictures or symbols. The main difference is that writing stops short with the acquisition of the purely useful power of forming letters and words, and is seldom pursued for the sake of its beauty or artistic qualities as formerly; while drawing continually leads on to new difficulties to be conquered, to new subtleties of line, and fresh fascinations in the pursuit of distinction and style.

The practice of forming letters with the pen or brush, from good types, Roman and Gothic, however, would afford very good preliminary practice to a student of line and form. The hand would acquire directness of stroke and touch, while the eye would grow accustomed to good lines of composition and simple constructive forms. The progressive nature of writing—the gradual building up of the forms of the letters—and the necessity of dealing with recurring forms and lines, also, would bear usefully upon after work in actual design. Albert Dürer in his "Geometrica" gives methods on which to draw the Roman capitals, and also the black letters, building the former upon the square and its proportions, the thickness of the down strokes being one-eighth of square, the thin strokes being one-sixteenth, and the serifs being turned by circles of one-fourth and one-eighth diameter. The capital O, it will be noted, is formed of two circles struck diagonally.

Methods of Drawing in Line

Letters may be taken as the simplest form of definition by means of line. They have been reduced through centuries of use from their primitive hieroglyphic forms to their present arbitrary and fixed types, though even these fixed types are subject to the variation produced by changes of taste and fancy.

But when we come to unformulated nature—to the vast world of complex forms, ever changing their aspect, full of life and movement, trees, flowers, woods and waters, birds, beasts, fishes, the human form—the problem how to represent any of these forms, to express and characterize them by means of so abstract a method as line-drawing, seems at first difficult enough.

But since the growth of perception, like the power of graphic representation, is gradual and partial, though progressive, the eye and the mind are generally first impressed with the salient features and leading characteristics of natural forms, just as the child's first idea of a human form is that of a body with four straight limbs, with a preponderating head. That is the first impression, and it is unhesitatingly recorded in infantine outline.

The first aim, then, in drawing anything in line is to grasp the general truths of form, character, and expression.

The Progressive Method

There are various methods of proceeding in getting an outline of any object or figure. To begin with, the student might begin progressively defining the form by a series of stages in this way. Take the profile of a bird, for instance; the form might be gradually built up by the combination of a series of lines:

or take the simpler form of a flask bottle:

or a jar on the same principle:

or, simpler still, a leaf form, putting in the stem first with one stroke (1):

and building the form around it (2, 3).

The Calligraphic Method

This might be termed the calligraphic method of drawing; and in this method facility of hand might be further practised by attempting the definition of forms by continuous strokes, or building it up by as few strokes as possible. The simpler types of ornament consisting of meandering and flowing lines can all be produced in this way, i.e., by continuous line, as well as natural forms treated in a certain abstract or conventional way, which adapts them to decoration.

The Tentative Method

Another method is to sketch in lightly guide lines for main masses, building a sort of scaffolding of light lines to assist the eye in getting the correct outline in its place, using vertical centre lines for symmetrical forms to get the poise right. This is the method very generally in use, but I think it very desirable to practise direct drawing as well, to acquire certainty of eye and facility of hand; and one must not mind failure at first, as this kind of power and facility is so much a matter of practice.

The Japanese Direct Brush Method

The Japanese, who draw with the brush, have accustomed themselves to draw in a direct manner without any preliminary sketching, and the charm of their work is largely owing to that crisp freshness of touch only possible to their direct method. The great object is to establish a perfectly intimate correspondence between eye and hand, so that the latter will record what the former perceives.

Abundant specimens of the freedom and naturalism of the modern school of Japanese artists in this direct brush method may be found in the work of Bari, Hiroshigi, and Hokusai, and in the numerous prints and books of designs from their hands. To all draughtsmen and designers they are most valuable to study for their direct method and simple means of expression of form and fact. Accidental as they frequently seem in composition, the placing of the drawing upon the paper is carefully considered before starting, and this, of course, is always a very important point.

Yet another method of drawing, more especially in relation to the drawing of the human figure and animal forms, I may mention as a help to those who do not feel strong enough for the direct method. At the same time it must be borne in mind that we can accustom ourselves to any method; and the more dependent we become upon a single method, the less facility we shall have for working in any other. But for all that it is desirable to master one method—that is, to be able to draw in line freely in one way or another—and experience and practice alone will enable us to find the method most satisfactory.

The Oval and Rectangular Methods

The Rectangular Method

This other method is to block in the principal masses of the forms we desire to represent by means of a series of ovals, as shown in the illustration, and when we have got the masses in their proper relations, to proceed to draw in the careful outline of the figure, or whatever it may be, upon this substructure of guiding lines, correcting as we go along. It would be quite possible to work on the same principle, but upon a structure of more or less rectangular masses. The real use of the method is to assist the student to get a grasp of the relation of the masses of a figure and a sense of structure in drawing; whether square or oval blocking in is used may be a matter of choice. It may be said for the oval forms that they resemble the contours of the structure in human and animal forms.

If one had a tendency to round one's forms too much, it would be well to try the rectangular method to correct this, and vice versâ.

After a certain facility has been acquired in rendering form by means of line, we shall perceive further capacities of expression in its use, and begin to note how different characteristics of form and natural fact may be expressed by varying the quality of our outline.

If we are drawing a plant or a flower, for instance, we should endeavour to show by the quality of our line the difference between the fine springing curves in the structure of the lily, the solid seed-centre and stiff radiation of the petals of the daisy, and the delicate silky folds of the poppy.

Quality of Line

But, as leaves come before flowers, it would be best to begin with leaf forms and try to express the character of oak and beech, lime and chestnut leaves, for instance, by means of outline. Probably at first we shall feel dissatisfied with our outline as not being full enough: it may look meagre in quality and small in definition of form. This probably arises from not allowing enough space—from setting the outline too much within the boundary of the form. To correct this one cannot do better than block in the form of the object we are drawing (leaf, flower, or figure) with a full brush in black silhouette, placing the object against the light or white paper, so that its true boundary may be seen uninterfered with by surface markings or shadows, and, concentrating our attention upon the edge, follow it as carefully as possible with the solid black. Then, if we compare the result with our outline, it will help to show where it has failed; and the practice of thus blocking in with the brush in solid silhouette will tend to encourage a larger style of drawing, since good outline means good perception of mass; and as a general principle in drawing, it may be recommended to place one's outline outside the silhouette boundary of the form rather than within it; that is to say, when the figure or object is relieved in light against dark, as the line in that case defines the edge against the background. When the figure or object appears as dark upon a light ground, however, the outline should be within the silhouette, obviously, or its delicate boundary is lost.

Linear Expression of Movement

Another important attribute of line is its power of expressing or suggesting movement. By a law of inseparable association, undulating lines approaching the horizontal, or leading down to it, are connected with the sense of repose; whereas broken curves and rectangular lines always suggest action and unrest, or the resistance to force of some kind.

The recurrence of a series of lines in the same direction in a kind of crescendo or wave-like movement suggests continuous pressure of force in the same direction, as in this series of instantaneous actions of a man bowling, where the line drawn through or touching the highest points in each figure takes the line of the curve of a wave. The wave-line, indeed, may be said not only to suggest movement, but also to describe its direction and force. It is, in fact, the line of movement. The principle may be seen in a simpler way, as Hogarth points out in his "Analysis of Beauty," by observing the line described along a wall by the head of a man walking along the street. Or, as we may see sometimes near the coast, trees exposed to the constant pressure of the wind illustrate this recurrence of lines in the same direction governing their general shape; and as each tree is forced to spread in the direction away from the wind, the effect is that of their being always struggling against its pressure even in the calmest weather; and this is entirely due to our association of wind-movement with this peculiar linear expression.

Flowing water, again, is expressed by certain recurring wave-lines, which remind us of the ancient linear symbols of the zigzag and meander used from the earliest times to express water. In the streams that channel the sands of the sea-shore when the tide recedes we may see beautiful flowing lines, sometimes crossing like a network, and sometimes running into a series of shell-like waves; while the sands themselves are ribbed and channelled and modelled by the recurring movement of the waves, which leave upon them the impress and the expression of their motion (much as in a more delicate medium the air-currents impress the fields of cloud, and give them their characteristic forms).

Linear Expression of Textures

Textures and surfaces, too, fall within the range of linear expression. One would naturally use lines of totally different consistency and character to express rough or smooth surfaces: to express the difference of value, for instance, between the ivory-like smoothness of an egg and the scaly surface of a pine-cone, entirely different qualities of line are obviously wanted. The firm-set yet soft feathers of the plumage of a bird must be rendered by a very different touch from the shining scales of a fish. The hair and horns of animals, delicate human features, flowers, the sinuous lines of thin drapery, or the broad massive folds of heavy robes, all demand from the designer and draughtsman in line different kinds of suggestive expression, a translation or rendering of natural fact subordinate to the artistic purpose of his work, and in relation to the material and purpose for which he works.

Linear Expression of Emotion

Then, again, when we come to the expression of ideas—of thought and sentiment—we find in line an abstract but direct medium for their illustration; and this again, too, by means of that law of inseparable association which connects the idea of praise or aspiration and ascension, for instance, with long lines inclining towards the severe vertical, as when we draw a figure with upraised hands; while the feeling might be increased if led up to or re-echoed by other groups and objects in the composition, forming a kind of vertical crescendo on the same principle which we were considering in regard to the expression of lateral movement. Few things in design are finer or more elevated in feeling than William Blake's design of the Morning Stars singing together, in the series of the Book of Job, yet it is little more than a vertical arrangement of figures with uplifted and intercrossing arms. The linear plan gives the main impetus to the expressiveness of the design, and is the basis of the beauty, which culminates in the rapture of the fresh youthful faces.

Scale of Linear Expression

Bowed and bent lines tending downwards, on the other hand, convey the opposite ideas of dejection and despair. This is illustrated in these figures of Flaxman's, who was a great master of style in outline.

Capacity of Line

We seem here to discover a kind of scale of linear expression—the two extremes at either end: the horizontal and the vertical, with every degree and modulation between them; the undulating curve giving way to the springing energetic spiral, the meandering, flowing line sinking to the horizontal: or the sharp opposition and thrust of rectangular, the nervous resistance of broken curves, the flame-like, triumphant, ascending verticals. Truly the designer may find a great range of expression within the dominion of pure line. Line is, indeed, as I have before termed it, a language, a most sensitive and vigorous speech of many dialects; which can adapt itself to all purposes, and is, indeed, indispensable to all the provinces of design in line. Line may be regarded simply as a means of record, a method of registering the facts of nature, of graphically portraying the characteristics of plants and animals, or the features of humanity: the smooth features of youth, the rugged lines of age. It is capable of this, and more also, since it can appeal to our emotions and evoke our passionate and poetic sympathies with both the life of humanity and wild nature, as in the hands of the great masters it lifts us to the heavens or bows us down to earth: we may stand on the sea-shore and see the movement of the falling waves, the fierce energy of the storm and its rolling armament of clouds, glittering with the sudden zigzag of the lightning; or we may sink into the profound calm of a summer day, when the mountains, defined only by their edges, wrapped in soft planes of mist, seem to recline upon the level meadows like Titans and dream of the golden age.

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.

I spoke of Line as a Language, and gave some illustrations of its power and range of expression, showing that line is capable not only of recording natural fact and defining character, but also of conveying the idea of movement and force, of action and repose; and, further, of appealing to our emotions and thoughts by variations and changes in its direction, the degree of its emphasis, and other qualities.

Dialects

Yet every designer and draughtsman uses line in a different way, and of a different quality, according to his preference, habit, training, or personality. The endless variations which result I should—to pursue the analogy of speech further—term dialects. We might collect abundant examples of these from the work of line-designers since the world began, or compare the methods of any of the popular illustrators of to-day to find constant variations and individual differences occurring even among those which might be said, under the influence of a prevailing mode, to be variations of one type.

Compare a Greek vase-painter's delicate brush line-drawing with the bold pen-line of Albert Dürer (to get a contrast in historic style). Compare (to take two masters of different schools, but of the same country) the line-treatment of Mantegna with the line-treatment of Raphael; or, to take another jump, compare the line-work of Blake and Flaxman; or, to take a modern instance, and to come to our own contemporary artists, compare a drawing by Burne-Jones and one by Phil May.

We might construct a sort of scale of the degrees and qualities of line.

There is, for instance, outline of every degree of boldness or fineness, from the strong black half-inch outline and upwards used in mosaic-work and stained-glass leading; the outline of the pattern designer for block-printing; the outline of the pen draughtsman for process-work or woodcut; and so on, down to the hair-line of the drypoint etcher.

Scale of Degrees in Line

There are the qualities of line in different degrees of firmness, roughness, raggedness, or smooth and flowing. There are the degrees of direction of line, curvilinear or angular. On the angular side all variations from the perpendicular and horizontal, or rectangle, within which we may find all these degrees, and on the curvilinear side, all the variations from spiral to circle: so that we might say that the rectangle was the cradle of all angular variations of line, while the semicircle was the cradle of all curvilinear variations. (See the diagrams on p. [26].)

Every artist, sooner or later, by means of his selective adaptive sense, finds a method in the use of line to suit his own personality—to suit his own individual aim in artistic expression—and in course of time it becomes a characteristic manner, by which his work is instantly known, like a friend's handwriting.

Now what determines this choice, this personal selection, over and above necessities of method and material, it would be difficult to say, unless we had more minute knowledge of the natural history of a human being than we are likely to possess. We can only say that from practice are evolved certain methods or principles, consciously or unconsciously; and it is only these general methods or principles that can be explained and tested for the benefit of those essaying to follow the arduous and difficult path of art.

Relation of Line to Form

At the outset we see that we need a means of definition in drawing, just as a child needs a word to express a thing it wants. Line, at the point of the pencil, pen, or brush, places this possibility of definition within our reach; but before we can grasp it we need some knowledge, however rudimentary, of its inseparable companion, Form.

I recall two innocent and entertaining methods from the traditions of the nursery, which appeal at once in a curious way to both the oral and graphic senses, and unite story and picture in one. These are illustrated on p. [28]. By such devices a child learns to associate line and form, unconsciously and step by step defining form in the use of, or pursuit of, line.

It would be very entertaining and agreeable if we could carry the principle further, and get a passable study from the antique, for instance, by a similar process. In line-drawing we may, however, always tell some story or fact, or character, phase, or idea.

The Graphic Purpose

But supposing we have mounted our steed Form, and taken our bridle Line in hand, and have started riding at large in the vast domain of nature, with the primary object of finding and hunting down truth at last; we soon perceive that there are so many truths, or rather that truth, even of natural fact, has so many sides, that it is difficult to make up our mind which one to pursue. Thought, however, will soon discover that in this pursuit of truth we strike a road that naturally divides itself, or branches out, into two main paths distinct in aim. These two paths in art have been called by many names; they occasionally cross each other, or overlap, and are sometimes blended, or even confused; but it will be useful for our present purpose to keep them very distinct. I will term them, for convenience:

1. The Graphic Purpose. (Accidental form.)
2. The Ornamental Purpose. (Typical form.)

Our use of line will largely depend upon which of these two it is our object to pursue. Now when we look at anything with intent to draw—say a leafy bough as it grows in the sunshine—we see great complexity of form and surface-lighting. The leaves, perhaps, take all manner of variations of the typical form, and are set at all sorts of angles. In making a rapid sketch with the object of getting the appearance of the bough, we naturally dwell upon these accidents and superficial facts. At the same time, with nothing but line to express them, we are compelled to use a kind of convention, though our aim be purely naturalistic, to get a faithful portrait of the bough.

We must make our line as descriptive as possible, defining the main forms boldly, and blocking in broadly the main masses of form and light and shade. We are now aiming at the general look of the thing. We are striving to grasp the facts of Aspect. We are concerned with the purely graphic purpose, to make a picture upon paper.

We cannot, however, even under these simple conditions, altogether leave out of account considerations which, strictly speaking, must be termed "decorative." For instance, there is the question of placing the study well upon the paper, a very important point to start with; and then the question of beauty must arise, not only in the selection of our point of view, but in the choice of method, in the treatment of line we adopt; and it does not follow that the most apparently forcible way of getting bold projection by means of black shadows, at the cost of the more delicate characteristics of our subject, is the best. On the contrary, the finest draughtsmanship is always the most subtle and delicate, and one cannot get subtle and delicate draughtsmanship without faithful study and careful constant practice—knowledge of form, in short—and I am afraid there is no short cut to it.

The Ornamental Purpose

Now supposing we make our study of leaves, not as an end in itself, and for its simple pictorial values or qualities only, but with an ornamental or decorative purpose in view, intending to make use of its form and character in some more or less systematic design or pattern-work—adapted to special methods and materials—intended to decorate a wall-surface or a textile, for instance; we might certainly start with a general sketch of its appearance as before, but we should find that we should want to understand it in its detail; the law of its growth and construction; we should want to dwell upon its typical character and form, the controlling lines of its masses, rather than on its accidental aspects, because it would really be only with these that we could successfully deal in adapting anything in nature to the conditions and limitations of a design. To do this requires as much art as to make a clever graphic sketch, perhaps more; but it is certainly not so easily understood and appreciated, as a rule. Pattern-work is taken so much for granted, except by those technically interested, whereas a graphic sketch may bring the drama of nature, and of human character and incident, before our eyes. It does not require us to stop and think out the less obvious meaning, or trace the invention or grace of line, to appreciate the rhythmic, silent music which the more formalized and abstract decorative design may contain, quite apart from the forms it actually represents.

Question and Answer in Line

Here we discover another function of line. For, directly we endeavour to construct a decorative design—that is, a design intended to adorn or to express an object or surface—we find that we must build it upon some sort of a plan, or geometric controlling network or scaffolding, so as to give it unity, rhythm, and coherence—especially so in the case of repeating designs. Even in an isolated panel or picture the necessity of this linear basis will be felt, since one cannot draw a line or define a form without demanding an answer—that is, a corresponding, re-echoing line or mass.

The curve (1. Q) is a proposition or question. It is answered or balanced by the corresponding curve (2. A), and forms the basis for a scroll design.

The five radiating lines (1) are obviously incomplete by themselves, but if we add another four, in reverse order, (2) we get a centred and symmetric motive of an anthemion character.

Wall-Paper Design

Take, however, a wall-paper. The problem is to construct a design pleasant to the eye in line, form, colour, and suggestion; which will be interesting in detail, and yet repeat upon a wall-surface without flaw, and without becoming wearisome. Moreover, one which will lend itself to being cut upon wood, if for block-printing, and which may be reproduced with a due regard to economy of means. The designer may have a square of twenty-one inches in which to make his design.

A useful way to begin with is to rule out a sheet of paper into squares, say on the scale of 1-½ inch to the foot, and upon this jot down your first ideas of linear arrangement and colour motive, and get the general effect, and test the plan of repeats. When you are satisfied with one, enlarge it to full size, correct and amplify it, and improve it in form and detail. Changes will probably be found necessary in drawing it upon the larger scale, sometimes additions, sometimes omissions. Now in sketching out the general plan, one builds, as before said, upon some basis or plan, however simple, since one cannot put a simple spot, sprig, or spray upon paper intending to repeat, without some system of connection to put them into relation.

Controlling Forms

In designing one's sprig, too, the best plan to secure good decorative effect is to see that its general form is inclosed or bounded by an agreeable linear shape, although itself not actually visible. Simple leaf and flower forms are generally the best to use for these controlling boundaries. Sprays designed on this principle may be relied upon for repeating pleasantly and safely when they are placed upon, and connected by, the controlling geometric plan. A good practical test of the truth and completeness of your square repeat is, when the design is done, or even in progress, to cut it into four equal parts (supposing it to be a twenty-one inch square). This will enable you to get the joints true, and also, by altering the position of the squares, to give you a very good idea of the effect of the repeat full size. (See the diagrams on p. [41].)

These things must be considered, of course, merely as practical aids to invention: not by any means as substitutes for it. One cannot give any recipe for designing, and no rules, principles, or methods can supply the place of imagination and fancy. "He who would bring back health from the Indies," says an old proverb, "must take it out with him."

At the same time the imagination can be enfeebled by starvation and neglect. It can be depressed by dull and sordid surroundings. It is apt to grow, like other living things, by what it feeds on, and is stronger for exercise and development.

Memory

Memory, too, is an important and serviceable thing in designing, and this, again, can be cultivated to an almost unlimited extent. I mean that selective kind of memory which, by constant and close observation, extracts and stores up the essential serviceable kind of facts for the designer: facts of form, of structure, of movement of figures, expressive lines, momentary or transitory effects of colour—all those rare and precious visual moments which will not wait, and which happen unexpectedly. They should be captured like rare butterflies and carefully stored in the mind's museum of suggestions, as well as, as far as is possible, pinned down in the hieroglyphics of the note-book.

Evolution in Design

As regards procedure in working out a design, one generally thinks of some leading feature, some central mass or form or curve—of a figure or a flower, say—and one thinks of its capacity in repeat; and, since one form or line should inevitably suggest or necessitate—as by a kind of logic—another, one adds other forms until the design is complete. For it must never be forgotten that design is a growth which has its own stages of evolution in the mind, answering to the evolution of the living forms of nature—first the blade, then the ear, after that the full corn in the ear.

Experience teaches us that the most harmonious arrangements of form and line are those in which the leading lines and forms through all sorts of variations, continually recur. We cannot place a number of sharply contrasting and contradictory forms together in design satisfactorily—at least we cannot do so without recourse to other elements to harmonize and to bring them into relation. For instance, we might get a great deal of ornamental variety by means of a number of heraldic devices upon shields, full in themselves of quaintness and contrasts, but brought into harmony by the boundary lines of the shields and the divisions; or, still further, by throwing them upon a background of leaves and stems, the meandering lines and recurring forms of which would answer as a kind of warp upon which to weave the heraldic spots into a connected and harmonious pattern.

Variety in Unity

But even in the ornamental treatment of diverse forms, as the mediæval heraldic designers were well aware, they can be brought into decorative harmony by following a similar principle to the one already laid down in regard to the designing of sprigs and sprays: that is to say, that in designing an animal or figure for heraldry or introduction into a pattern, one should arrange it so that it should fall within the boundary of some geometric or foliated form, square, circular, elliptical or otherwise, as might be desirable. To this, however, I hope to return in a future chapter.

Counterbalance

We may here consider another important principle in designing with line and mass, that of counterbalance.

Take any defined space as a panel, tile, or border to be filled with design: you place your principal mass, and instantly feel that it must be balanced by a corresponding mass, or some equivalent. Its place will be determined by the principle upon which the design is built. If on a symmetrical arrangement, you find your centre (say of a panel), and you may either throw the chief weight and mass of the design upon the central feature (as a tree), and balance it by smaller forms or wings each side, or vice versâ; or, adopting a diagonal plan, you place your principal mass (say it is a tile) near the top left-hand corner (suppose it is a pomegranate), connecting it with a spiral diagonal line (the stem); the place of the counterbalancing mass (the second pomegranate) is obviously near the bottom right-hand corner of the square. You may then feel the necessity for additional smaller forms, and so add to it (the leaves), completing the design. (See preceding page.)

Linear Logic

On the same principle one may design upon various other plans. The exact choice of the distribution of the counterbalancing masses must always be a matter of personal feeling, judgment, and taste, controlled by the perception of certain logical necessities: as it seems to me that designing is a species of linear reasoning,[1] and might almost be worked in its elementary stages on the principle of the syllogism, consisting of two propositions and a conclusion. A spiral curve is a harmonious line, says the designer: repeat it, reversed, and you prolong the harmony; repeat it again, with variations, and you complete the harmony. Or, harmonious effect is produced by recurring form and line. Here is a circular form; here is a meandering line: combine and repeat them, and you get a logical and harmonious border motive.

[ [1] I recall here a saying of Sir E. Burne-Jones, that "a bad line can only be answered by a good line."

Recurring Line and Form

The everlastingly recurring egg and dart moulding and the volute are instances of the harmonious effect of very simple arrangements of recurring line and form. We also get illustrated in these another linear quality in design—that up-and-down movement which gives a pleasant rhythm to the simplest border, and is of especial consequence in all repeating border and frieze designs. The borders of early, ancient, and classical art might be said to be little besides rhythmical and logical arrangements of line. The same rhythmical principle is found in the designs of the classical frieze in all its varieties, culminating in the rhythmic movement of the great Pan-Athenaic procession in that master-frieze of the Parthenon, which, though full of infinite variety and delicate sculptured detail, is yet controlled by a strictly ornamental motive, and constructed upon the rhythmic recurrence of pure line.

The Principle of Radiation

Another great linear principle in design is what is known as the radiating principle, which gives vitality and vigour alike to both arrangements of line and delineations of form. It is emphatically and abundantly illustrated in natural forms, from the scallop shell upon the sea-shore to the sun himself that radiates his light upon it. The palm-leaf in all its graceful varieties demonstrates its beauty, its constructive strength combined with extraordinary lightness, which becomes domesticated in that fragile sceptre of social influence and festivity, the fan, and which again spreads its silken, or gossamer, wing as a suggestive field for the designer. We find the principle springing to life again in the fountain jet, and symbolical of life as it has ever been; by means of the same principle applied to construction the Gothic architects raised their beautiful vaults, and emphasized the structural principle and the beauty of recurring line by moulding the edges of their ribs; while we have but to look at the structure of the human frame to find the same principle there also, in the fibres of the muscles, for instance, the radiation of the ribs, and of the fingers and toes.

In truth, as I have said, if there can be said to be one principle more than another, the perception and expression of which gives to an artist's work in design peculiar vitality, it is this principle of radiating line. One may follow it through all stages and forms of drawing and design, and it is equally important in the design of the figure, in the structure of a flower, in the folds of drapery, and alike in the controlling lines of pictorial composition and decorative plan, whether the lines radiate from seen or from hidden centres, which in all kinds of informal design are perhaps the most important.

Range and Use of Line

We see, therefore, that line possesses a constructive and controlling function, in addition to its power of graphic expression and decorative definition. It is the beginning and the end of art. By means of its help we guide our first tottering steps in the wide world of design; and, as we gain facility of hand and travel further afield, we discover that we have a key to unlock the wonders of art and nature, a method of conjuring up all forms at will: a sensitive language capable of recording and revealing impressions and beauties of form and structure hidden from the careless eye: a delicate instrument which may catch and perpetuate in imperishable notation unheard harmonies: a staff to lean upon through the journey of life: a candid friend who never deceives us: perchance a divining rod, which may ultimately reveal to us that Beauty and Truth are one—as they certainly are, or ought to be, in the world of art.

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.

Recognizing the great range and capacity of line as a means of expression, and also the range of choice it presents to the designer and draughtsman, the actual exercise of this choice of line, with a view to the most expressive and effective use in practice, becomes, of course, of the first consequence.

In this matter of choice we are helped by natural bias, by personal character and preferences, for which it would, as I have said, be difficult fully to account; but beyond this a kind of evolution goes on, arising out of actual practice, which controls and is controlled by it. Draw simply a succession of strokes with any point upon paper, and we find that we are gradually led to repeat a particular kind of stroke, a particular degree of line, partly perhaps because it seems to be produced with more ease, and partly because it appears to have the pleasantest effect.

Choice of Line

By a kind of "natural selection," therefore, influenced no doubt by many small secondary causes, such as the relation of the particular angle of the hand and pencil-point to the surface—the nature of the point itself and the nature of the surface—we finally arrive at a choice of line. This choice, again, will be liable to constant variation, owing to the nature of the object we are about to draw, or the kind of design we want to make.

Use of Line

The kind of line which seems appropriate to representing the delicate edges of a piece of low-relief sculpture, for instance, would require greater force and firmness if we wanted to draw an antique cast in the round, and in strong light and shade. The character of our line should be sympathetic with the character of our subject as far as possible, and sensitive to its differences of character and surface, since it is in this sensitiveness that the expressive power and peculiar virtue of line-drawing consists.

A feather, a lily, a scallop shell, all show as an essential principle of their form and construction the radiating line; but what a different quality of line would be necessary to express the differences of each: for the soft, yet firm, smooth flowing curves of the feather fibres no line would be too delicate; and the lily would demand no less delicacy, and even greater precision and firmness of curve, while a slight waviness, or quiver, in the lines might express the silken or waxy surface of the petals; while a crustier, more rugged, though equally firm line would be wanted to follow the rigid furrows and serrated surface of the shell. The leaves of trees and plants of all kinds, which perhaps afford the best sort of practice in line-drawing at first, present in their varieties of structure, character, and surfaces continual opportunities for the exercise of artistic judgment in the choice and use of line.

The forms and surfaces of fruits, again, are excellent tests of line draughtsmanship, and their study is a good preparation for the more subtle and delicate contours of the human form—the greatest test of all. Here we see firmness of fundamental structure (in the bones) and surface curve (of sinew and muscle), with a mobile and constantly changing surface (of flesh and sensitive skin). To render such characteristics without tending to overdo either the firmness or the mobility, and so to become too rigid on the one hand, or too loose and indefinite on the other, requires extraordinary skill, knowledge, and practice in the use of line. I do not suppose the greatest master ever satisfied himself yet in this direction.

Degree and Emphasis

When we have settled upon our quality of line and its degree—thick or thin, bold or fine—we shall be met with the question of emphasis, for upon this the ultimate effect and expression of our drawing or design must largely depend. In the selection of any subject we should naturally be influenced by the attractiveness of particular parts, characters, or qualities it might possess, and we should direct our efforts towards bringing these out, as the things which impress us most. That is the difference between the mind and hand working together harmoniously and the sensitized plate in the photographic camera, which, uncontrolled in any way by human choice (and even under that control as it always is to some extent), mechanically registers the action of the light rays which define the impress of natural forms and scenes through the lens focussed upon the plate. So that, as we often see in a photograph, some unimportant or insignificant detail is reproduced with as much distinctness (or more) as are the leading figures or whatever form the interesting features or the motive of the subject. The picture suffers from want of emphasis, or from emphasis in the wrong place. It is, of course, here that the art of the photographer comes in; and, although he can by careful selection, arrangement, and the regulation of exposure, largely counteract the mechanical tendency, a photograph by its very nature can never take the place of a work of art—the first-hand expression, more or less abstract, of a human mind, or the creative inner vision recorded by a human hand.

Influence of the Photograph

Photography does wonders, and for certain qualities of light and shade, and form and effect without colour, no painting or drawing can approach it; but it has the value and interest of science rather than of art. It is invaluable to the student of natural fact, surface effect, and momentary action, and is often in its very failures most interesting and suggestive to artists—who indeed have not been slow to avail themselves of the help of photography in all sorts of ways. Indeed the wonder is, considering its services to art in all directions, how the world could ever have done without it.

But a photograph cannot do everything. It cannot make original designs, and it cannot draw in line. You can design in the solid, and make your groups in the studio or the open air; you can select your point of view, and the photograph will reproduce. You can make your drawing in line, and it will copy it; and we know its sphere of usefulness in this direction is enormous, since it can bring before our eyes the whole range of ancient art.

In short, photography is an excellent servant and friend, but a dangerous master. It may easily beguile us by its seductive reproductions of surface relief and lighting to think more of these qualities than any other, and to endeavour to put them in the wrong places—in places where we want colour planes rather than shadow planes, flatness and repose rather than relief, for instance, as mostly in surface decoration.

But one way of learning the value of emphasis is to draw from a photograph, and it will soon be discovered what a difference in expression is produced by dwelling a little more here, or a little less there.

The Value of Emphasis

In designing, the use of emphasis is very important; and it may be said that drawing or designing without emphasis is like reading without stops, while awkward emphasis is like putting your stops in the wrong place.

By a difference in emphasis the same design may be given quite a different effect and expression.

Suppose, for instance, we were designing a vertical pattern of stem, leaves, and fruit in one colour. By throwing the emphasis upon the leaves, as in No. 1, we should gain one kind of effect or decorative expression. By throwing the emphasis upon the fruit, and leaving the leaves in outline, we should get quite a different effect out of the same elements, as in No. 2. While by leaving stem, leaves, and fruit all in outline, and throwing the emphasis upon the ground, we should get, again, a totally distinct kind of effect and expression.

Similar differences of effect and expression, owing to differences of emphasis, might be studied in the drawing and treatment of a head (as in a, b, and c). The possibilities of such variations of emphasis in drawing are practically unlimited and co-extensive with the variations of expression we see in nature herself. The pictorial artist is free to translate or represent them in his work, controlled solely by the conditions and purpose of his work.

It is these conditions and purposes which really control both choice and treatment, and determine the emphasis, and therefore the expression of the work.

No kind of art can be said to be unconditioned, and the simplest and freest of all, the art of the point and the surface, which covers all the graphic art and flat designing, is still subject to certain technical influences, and it may be said that it is very much in so far as these technical influences or conditions are acknowledged and utilized that the work gains in artistic character.

[SN The Technical Influence]

The draughtsman in line who draws for surface printing, for the book or newspaper, should be able to stand the test of the peculiar conditions; and, so far from attempting to escape them, and seeking something more than they will bear, should welcome them as incentives to a distinct artistic treatment with a value and character of its own, which indeed all the best work has. It is, for instance, important in all design associated with type for surface printing, that there should be a certain harmonious relation between lettering or type and printer's ornament or picture.

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.

In designing, too, unless we can so contrive the essential characteristics of our pattern that they shall be adaptable to the method and material of its production, and make its reproduction quite practicable, it is sure to reappear more or less marred and incomplete. The thing is to discover what kind of character and beauty the method will allow of—whether beauty or quality of line, or surface, or colour, or material; and if to be reproduced in a particular method or material, the design should be thought out in the method or material for which it is destined, rather than as a drawing on paper, and worked out accordingly, using every opportunity to secure the particular kind of beauty naturally belonging to such work in its completed form.

Thus we should naturally think of planes of surface in modelled work, and the delicate play of light and shade, getting our equivalent for colour in the design and contrast of varied surfaces. In stained glass we should think of a pattern in lead lines inclosing one of translucent colour, each being interdependent and united to form a harmonious whole. In textile design we should be influenced by the thought of the difference of use, plan, and purpose of the finished material; as the difference between a rich vertical pattern in silk, velvet, or tapestry, to be broken by folds as in curtains or hangings, and a rich carpet pattern, to be spread upon the unbroken level surface of a floor. The idea of the wall and floor should here influence us as well as the actual technical necessities of the loom. It would be part of the artistic purpose affecting the imagination and artistic motive, and working with the strictly technical conditions.

The mind must project itself, and see with the inner eye the effect of the design as it would appear in actual use, as far as possible. Invention, knowledge, and experience will do the rest.

Brush-Work

Keeping, however, to strictly pictorial or graphic conditions—to the art of the point and the surface—with which, as designers and draughtsmen, we are more immediately concerned, we cannot forget certain technical considerations strictly belonging to the varieties of point and of surface, and their relations one to another. The flexible point of the brush, for instance, dipped in ink, or colour, has its own peculiar capacity, its own range of treatment, one might say, its own forms.

The management admits of immense variation of use and touch, and its range of depicting and ornamental power are very great: from the simpler leaf forms, which seem to be almost a reflection or shadow of the moist pointed brush itself, to the elaborate graphic drawing in line or light and shade.

In forming the leaf shape one begins with a light pressure, if at the point, and proceeds to increase it for the middle and broader end. On the same principle of regulation of pressure any brush forms may be built up. It is essential for freedom in working with the brush not to starve or stint it in moisture or colour. For ornamental forms a full brush should be used: otherwise they are apt to look dragged and meagre. For a rich and flowing line also a full brush, however fine, is necessary. It is quite possible, however, to use it with a different aim, and to produce a sort of crumbling line when half dry, and also in colour-work for what is called dragging, by which tone, texture, or quality may be given to parts of a drawing. One should never lose sight, in using the brush as a drawing tool, of its distinctive quality and character, and impart it to all work done by its means.

The direct touch with the full brush—to cultivate this is of enormous advantage to all artists, whatever particular line of art they may follow, since it may be said to be of no less value in design than it is in painting pure and simple. We can all feel the charm of the broad brush washes and emphatic brush touches of a master of water-colour landscape such as De Wint. This is mastery of brush and colour in one direction—tone and effect. A Japanese drawing of a bird or a fish may show it equally in another—character and form. A bit of Oriental porcelain or Persian tile may show the same dexterous charm and full-brush feeling exercised in a strictly decorative direction.

The empire of the brush, if we think of it in all its various forms and directions, is very large; and it commands, in skilled hands, both line and form, in all their varieties, and leaves its impress in all the departments of art, from the humble but dexterous craftsman who puts the line of gold or colour round the edges of our cups and saucers, to the highly skilled and specialized painter of easel pictures—say the academician who writes cheques with his paint-brush!

Charcoal and Pencil

Then we have the ordinary varieties of the firm point: charcoal, pencil, pen. Charcoal, being halfway between hard and soft—a sort of halfway house or bridge for one passing from the flexible brush to the firm and hard points of pencil and pen—is first favourite with painters when they take to drawing. Its softness and removability adapts it as a tool for preliminary and preparatory sketching in for all purposes, and both for designer and painter; but it lends itself to both line and tone drawing, or to a mixture of both. It is therefore a very good material for rapid studies (say from the life) and the seizing of any effect of light and shade rapidly, since the masses can be laid in readily, and greater richness and depth can be obtained in shorter time, perhaps, than by any other kind of pencil.

Charcoal is also very serviceable for large cartoon-work, since it is capable of both delicacy and force, and bears working up to any extent. A slight rubbing of the finger gives half tones when wanted, and is often serviceable in giving greater solidity and finish to the work.

Then there is the lead pencil—the point-of-all-work, as it might be called—more generally serviceable than any other, whether for rapid sketches and jottings in the note-book, or careful and detailed drawings, or sketching in for the smaller kinds of design-work. It is also, of course, used for drawings which are afterwards "inked in." I do not think, however, that pen-work done in this way is so free or characteristic as when done direct, or at any rate quite freely, upon a mere scaffolding of preliminary lines, used only to make the plans for the chief masses and forms.

Pencil drawing is capable of being carried to a greater pitch of delicacy and finish, and has a silvery quality all its own. It has not the force or range of charcoal, but in its own technical range it possesses many advantages. Its gray and soft line, however charming in itself, does not fit it for work where sharpness and precision of line and touch are required, as may be said to be the case with all work intended to be reproduced by some process of handicraft or manufacture, except some sorts of photo-engraving or lithography. We must therefore look to another implement to enable us to obtain these qualities, namely, the brush, the use and qualities of which I have already touched upon.