The Bases of Design

WE commonly speak of ancient _art_, but of modern _artists_. Straws indicate which way the wind blows, and superficial habits may indicate changes of thought and feeling which l...

WHEN we approach the study of Design, from whatever point of view, and whatsoever our ultimate aim and purpose, we can hardly fail to be impressed with the vast variety and endl...

IN my last chapter I compared tradition in art to a golden chain, and the striking individualities which arise from time to time as the jewels upon such a chain. The history of...

While much early ornament, as we have seen, is traceable to a constructive origin, another kind, or another branch of the tree of design is traceable to a symbolic origin, and s...

NEXT to the architectural basis influence in design, and, indeed, hardly separable from it, being another side of the constructive, adaptive art, we may fitly take the Utility B...

WE have seen how largely Design in its manifold forms has been influenced by various physical conditions and necessities, and in pursuing the subject we can hardly fail to note...

IN the previous three chapters we have been considering Design under various conditions of use and material. The present may be considered as a continuation of the same line of...

WE have seen (1) that architectural considerations lie at the basis of design and control its general character, its scale, and relationships; and (2) that utility determines an...

"THE graphic influence!" my readers may exclaim, "what existence has design apart from this, since the depicting power with whatever pencil, brush, modelling tool, chisel, pen i...

THOSE personal predilections and idiosyncrasies which we each possess, those differences of temper and qualities of perception which affect our sense of colour and form, which a...