CHAPTER II

THE CULTIVATION OF TASTE AND DESIGN

It will be evident to the thinking man or woman that art or any phase of it is not to be taught successfully as a profession through books. The very most that one can expect from reading is a knowledge about art matters and acquaintance with the conventions and rules which obtain therein. But even this slight result may be the precursor of a fuller, more intimate familiarity with the principles of good taste and design.

One may be able to say "that is a beautiful room" or "a fine garden" or "a charming gown" and yet be unable to produce any such things. How is it possible then to _know_ if one cannot _do_? The answer is that, _potentially_, every individual who really sees and appreciates beauty can produce it through some form of artistic expression; the power to execute and the power of invention are merely undeveloped. And as for the artist or craftsman who can make beautiful things, but who cannot explain how he does it--he is unique, like the mathematical genius; he just sees the answer; it is a gift. Though there are born in every generation a few with the divine spark of genius, the mass of men and women has always learned by effort. In other words, it has been possible to _teach_ the subjects which were found necessary to culture and education; it is quite possible to present the ordinary phases of art to the lay mind in such a way, even through books, that one may have worthy ideals, and a healthy point of view. The present chapter will be devoted to showing how books such as these[D] for boys and girls can contribute to the development of taste.

Frankly, taste has much less to do with fine art than with the arrangement and choice of the ordinary externals of living. Of course fine art does in the last analysis pass judgment upon form, color and design in clothes, furnishings and architecture, but the common home variety of taste is derived directly from custom, comfort, and convention, not from art at all. Only in the later stages of refinement does the lay mind succumb to direct supervision by art. On the other hand, all conventions and ideals are the result or sum total of general experience, in which art has played its part, and has left some impress on the individual, giving rise to belief in a few principles so common as to be accepted by all. Principles of this kind are not always serviceable or effective, because they are not stated in precise language, and cannot therefore become standard. In truth, so far as design is concerned, there are very few absolute rules for guidance, and a book like "Home Decoration" cannot tell the child or parent how to make a beautiful, inspiring home. Its mission is to create the desire for fine surroundings, to suggest ways and means for studying design, especially those phases of decoration associated with the crafts, and above all such a book invites and helps to maintain a _receptive attitude_ of mind toward artistic matters. In the effort to produce work of merit, one becomes critical, and seeks reasons and precedents for judgment. This is the beginning of design study: and the fact that one has real interest in taste is indicative of the desire of the cultured mind for ideals. If a child is allowed to grow up in the "I know what I like" atmosphere, without reasonable contact with choice things, and without the necessity for selection based upon reason, there is small chance that such a child will ever acquire any sense of fitness or taste in material surroundings.

The aims of all practical books for boys and girls may be summarized about as follows:

(_a_) To absorb the overflow of youthful energy and turn it into profitable channels.

(_b_) To develop organized thinking and accomplishment, and eliminate wasted, aimless, non-productive action. This is the complement to the routine of formal training in academic subjects, which are in themselves, normally un-useful.

(_c_) To explore the field of accomplishment in order to select intelligently a future occupation.

(_d_) To develop and foster standards and ideals of efficiency, comfort, enjoyment, beauty and social worth. This last purpose includes taste and is the one of concern here.

The peculiar æsthetic standards which interest young people are of the most practical kind. They apply every day and to everybody. And they are fundamental. The illustrations given below will indicate the common-sense way in which design should be approached:

_Color._ The tones of the color scale have not yet been systematized so well as those of music, but each year students of design and artists move a little toward agreement. Now, suppose one wishes to use two or more tones in a room, how may harmonious effect be secured? The very word "harmony" means _agreement_, and suggests _similarity_, _likeness_, _relationship_. Therefore the tones one would use in the embellishment of a room should possess some common _quality_ for the harmonizing element. Each tone having that quality as characteristic is similar in that one respect to all other tones having the same quality. Hence they are related in a way. The relation may be made strong or weak by the manipulation of the bond which holds the tones together. For instance:

Red and green are not related at all. By mixing gray with each, red and green become related through gray. By mixing yellow, orange or blue, etc., with red and green, the relationship may be established in the same way.

Yellow and green have a common quality--_yellow_, and in so far tend toward harmony. But it may not be a pleasing one, and it will be necessary to bring them still closer together by introducing other bonds, as gray or a color. Yellow is very light and green is dark: they will work together better if brought nearer together in value.

It is by such simple means that all color combinations are brought into line and rendered satisfactory. No rule can be given for mixing or choosing the actual colors, but it is a safe rule to select those of a kind in some respect. The popular belief in low-toned (grayed) color schemes is a sound one, and the principle can be used very comfortably by the amateur decorator in furnishing a home. She can have any colors she wishes, and make them pleasing, if she will unite them by some harmonizing tone. Of course, all grays even are not rich and beautiful, but they are better than unadulterated color. Mr. Irwin in one of his breezy skits quotes the æsthete as saying: "Good taste should be like the policeman at parade; he should permit the assembled colors to make an orderly demonstration but not to start a riot." The moment the unskilled amateur tries to use white woodwork, red wallpaper, and gilt furniture in combination, he or she courts failure simply because the choice lacks the pervading tone which would modify the three. There are ways to secure harmony even under the most adverse conditions, but the technical details are not pertinent here.

Another characteristic which stands in the way of harmony is _emphasis_. The moment any one tone becomes greatly _different_ from its neighbors in value or otherwise, it stands out, attracts attention, just as in material objects, unusual, curious shapes and sizes invite notice, often beyond their just dues. Hence a brilliant yellow house, a bright green gown, large figured wallpaper, are over-emphatic. Clothes, which by their color and style are loud in their clamor for inspection, are out of key and bear the same relation to surroundings which foreign, exotic manners and customs bear to domestic conventions. And ordinarily one does not seek such prominence.

This question of taste is a vital one to children, and these books about "Needlecraft," "Home Decoration," "Outdoor Work," "Gardening," etc., are indirectly most useful because they put the child in a _position to choose_. The girl who sews and helps run the home is bound to cross the path of design a dozen times a day. She is faced with problems of arrangement, color and utility at every turn. Her own clothes, her room, the porch and garden, whatever she touches, are inert, lifeless things which await artistic treatment. It is when the child is faced with the problem of personal interest and pleasure that these elementary conceptions of design may be proposed.

_Form and Line._ Each year fashion decrees for both men and women certain "correct" styles. At slightly longer intervals the shops offer new models of furniture, hangings, jewelry, pottery, etc. Have these new things been devised to meet a change in public taste? Not at all; they are inventions to stimulate trade. Most of such productions are out of place, incongruous, in company with present possessions. One must have a pretty sound sense of fitness and selection in order to use them to advantage or to resist their lure. As single examples, many of the new things are beautiful in color and line, though they may have nothing whatever in common with what one already owns.

One chooses a given pattern in furniture first, because of its _utility_; second, because of its harmony in line and size with other furniture already owned; and third, because of its intrinsic beauty. It is much less difficult to furnish a house throughout than to refurnish an old room in consonance with others already complete. All the household things need not be of one kind, though the closer one clings to a clear-cut conception of harmony (relationship of some kind) the better the result. Hence clothes may either beautify or exaggerate personal physique, and the garden may attach itself to the house and grounds or stand in lonely, painful isolation. Down at bottom design aims to assemble elements and parts into proper groups, and in the common questions of home decorations and dress the student can usually work on just that simple basis. It is usually the incongruous, over-prominent, conspicuous, or isolated factor in decoration which causes trouble.

This fragmentary discussion will perhaps suggest some of the benefit which may come from the pursuit of crafts and occupations. The illustrations here given are in some detail because it is so easy to overlook design at home and in common things. Everything is so familiar there, one is so accustomed to the furniture, rugs and their arrangement, that it never comes to mind that the situation might be improved. It must be remembered that, when children begin to apply design to their own handicraft, their fundamental conceptions of beauty originate in the home. Either the children must lose faith in home taste, or, as they grow and learn, be allowed to bring their new-found knowledge back into the home and "try it on." This is where the craft does its real work. The true privilege conferred upon children by the possession of such books as these on various special occupations is a chance to obtain, first-hand, individual standards of perfection and beauty. Before this they have merely accepted the home as it stood, with no thought of what was choice or otherwise.

Since taste and design are merely implied, or indirectly included in the several volumes, save "Home Decoration," the latter should be used as a supplementary reference in connection with the others. As has already been said, it is not possible or advisable to systematically teach good taste. It will be better and more effective to just _include_ taste in the several activities the child undertakes. When the girl begins to make things for herself, help her to select materials which are appropriate in every way. Have her seek materials for the purpose. Have her _choose_ decoration and color rather than take the first handy suggestion or copy the plans of another. She would do well to experiment independently. The girl should create her own room down to the last detail, not make everything herself, but plan it, plan its arrangement, its color (tone) if possible, and make those small decorative articles like pillows, runners, curtains, etc. But before beginning such a comprehensive experiment in decoration have her look about a bit and note the conditions imposed. The light and exposure, size of the room, furniture which must be used, treatment of hangings--these are all stubborn factors, but they respond to gradual treatment. Then the room is hers in reality. The boy's attitude toward taste is totally different. He cares less than the girl for the charm of tone and arrangement; he is quite willing to despise the niceties of decoration. He must approach the question obliquely through interest in the efficiency of a given effort; he appreciates the utility phase of design most of all. The boy will come to see gradually that his pets and chickens should be decently housed, and that it is good business to do so. He should not be allowed to impose upon his own family or their neighbors a slovenly yard or garden. He will find that those tools work best which are sharp and clean and always in place. His final lesson in design grows out of association with his mates. When he begins to go to parties, to enter the social world in a small way, a new body of conventions in taste appear and he must be taught to appreciate them if he would be well liked. But the real training in design arises from manual work--the playthings, toys and utensils the boy makes for _use_. They need not be beautiful nor is there excuse for clumsiness in construction. One cannot expect even the mature child to take much interest in design in the abstract, but when he meets the subject on a common-sense basis, as a part of some personal problem, design--even taste in color and form--acquires definite standing in his esteem. It has earned the right. Hence a liberal contact with youthful amusements and occupations encourages both boy and girl to build ideals of working, and among these ideals taste is bound to appear in some guise--usually unbidden. The book on design or decoration is but a reference, an inspiration, a stimulant, never a text of instruction. The ability to choose, to secure appropriate, beautiful, accurate results, is largely a by-product of judicious reading combined with persistent effort. It remains for the parent to skim off this by-product as it appears and infuse a little of it into each problem the child presents for inspection.

FOOTNOTE:

[D] Library of Work and Play.