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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 thos

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

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 so

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

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. We were considering the choice and use of Line in the last chapter: its expressive characters and various methods. We now come to the no less important question to the designer and draughtsman— The Choice of Form . If

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. The function of line considered from the point of view of its controlling influence as a boundary, or inclosure, of design, upon which I touched in the last chapter, is a very important one, and deserves most a

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. We may take it, then, from the principles and examples I have endeavoured to put before you in the previous chapters, that there are three fundamental elements or essentials

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

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. I have already said that when we add lines or tints of shadow, local colour or surface, to an outline drawing, we are seeking to express form in a more complete way than can be done in outline alone. These added lines or tints give what we call relief. Th

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. We have been considering hitherto the choice and use of line and form, and various methods of their representation in drawing, both from the point of

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