Documenti di Didattica
Documenti di Professioni
Documenti di Cultura
'T^ E^^CT, 5 O O K^ r
nRNA/AENTAL,
THE.
ANATO/A"
OF
PATTERN
arV18093
The anatomy
of pattern
/
The
original of
tliis
book
is in
restrictions in
text.
http://www.archive.org/details/cu31924031236114
By
lewis
F.
day
TEXT BOOKS
OF
ORNAMENTAL
DESIGN.
By lewis
F.
day.
^la-te
THE
ANATOMY OF PATTERN.
BY
LEWIS
AUTHOR OF
F.
DAY,
ILLUSTRATED.
B.
T.
UlNilVERSiTY
-^LIBRARY
PREFACE.
There was a time
artistic
in
my own
I
struggling for
existence,
when
must be students
have
set
who
for
plainly
before
myself
them what I have had to puzzle out Hence this series of Text Books
Design
;
of
Ornamental
in
which
have
of
in
amplified
and
of
illustrated
the
substance
delivered
series
Cantor Lectures
December
I
nical or artistic
reader
only that
my
elementary as
my
have taken
effort
some pains
in'
to save
him
all
unnecessary
following
meaning.
The
illustrations are to
be taken
literally
as illustrations,
vi
Preface.
is
only as diagrams that they have any claim to insertion although, as an ornaIt
;
have naturally made the necessary diagrams as interesting as under the circummentist, I
have
as
tried
far
to
of
the
in
plates,
itself
;
as
explanatory
them
alone,
have to say, a
of
pattern
fair
idea
of
the
construction
might be
gained.
Lewis
13,
F.
Day.
March
Tptk, 1887.
TABLE OF CONTENTS.
PAGE
I.
Introductory
25
34
V.
VI.
40
47
THE SQUARE
lines.
built
on cross-
3.
Plaids,
zigZagS,
on
4.
FRETS, &c.
Showing
their construction
on a network
of cross-lines.
5.
the
cross-lines
upon
6.
of
star,
up on the
7.
of the equilateral
and
its
compounds.
8.
THE HEXAGON
Honeycomb
its
THE OCTAGON
Simple
of their construction.
10.
11.
CURVILINEAR
PATTERNS
Showing
the construction
X
12.
List of Plates.
DIAPERS OF CIRCLESWith from which they are struck.
lines
13.
inter-
14.
repetition of geometric
Together with ogee, cusped, and other shapes derived from it.
16.
A STAR PATTERN
ITALIAN DAMASK
Showing
its
six
different
ways of
17.
Showing
construction
upon the
18.
HENRI
II.
BOOK-COVER
Showing
result of reversing,
and again
19.
SICILIAN
design
SILK
With
on which the
is built,
lines it assumes.
21.
With
the rectis
angular unit of repeat, in which the pattern over, after the manner of the weaver,
22.
turned
LATE-GOTHIC VELVET Showing horizontal effect of pattern constructed upon the lines of the ogee or
hexagon.
23.
lines
on which
planned.
24.
A DROP-PATTERNIn which
first
the construction
is
not at
apparent.
List of Plates.
25.
xi
which the same
MAP Showing
simple pattern
three plans,
on
either of
may be
produced. -
26.
Showing
is
length, &c.
27.
Showing
is
its
Construc-
not apparent.
the
28.
produced.
confusion
of
29.
DESIGN
forms.
Exemplifying
t'
the
intentional
30.
WALL-PAPER DESIGN
Showing a "drop" in the ornamental scroll, whilst the grotesque creatures introduced follow tke lines of the square block.
31.
PERSIAN TEXTjLE-^Showing the lines of the double square on which tae pattern is constructed, as distinct
from the
lines
it
takes.
32.
FOLIATED SCROLL
A design made
ij,
on square
lines, yet
ITALIAN SILK
plan.
Showing
ogee,
hexagon, or diamond
34.
SET PATTERN
35.
DAMASK
by
On
lines,
crossed
ERRATA.
Page
36.
"
When "
37
2,
dele from
"But
THE
ANATOMY OF PATTERN.
I.
INTRODUCTORY.
The
tion
somewhat
technical sense
designer.
which
it
is
used by the
Inasmuch as a pattern signifies a "specimen," one might argue that repetition is implied in ornamental pattern.
But inasmuch
imitation"
pattern,
is
as
for
quite
speaking
one
ornament.
Nevertheless, pattern mostly
petition.
face of
it
comes of reMany a pattern bears on the very the evidence that it grew directly
geometric
pattern
certainly
it
is
impossible to plait,
net, knit,
may
be
often
is
but
warp and weft are invisible to the naked eye and all that remains for us to it is there
;
do
is
to efface
it.
it
all
we
can, or to
make the
the best
best of
Out
of
it
of the determination to
make
has grown
much
to
pattern-work.
spiration,
To
therefore,
attempt to suppress
wasteful
degree.
it,
would seem to be
to
of opportunity
the
very last
The very
pattern
;
so
much
is
so,
that one
may
say
is
wherever there
pattern.
and
repeat
it
or no, a pattern, as
The
be
sand, the veins of marble, the grain of wood, the crystallisation of the breath upon the window-
regular.
Introductory.
of the
human
So
the
face
resolve
is
themselves into
pattern.
distinctly
that
ornamentist
devising,
finds
lui,
is
himself
con-
tinually
malgr
patterns that
remind one of
with
faces.
There
it
speculation whether
may
a view of escaping
it
this
anticipating
The popular
mental design
sit
down
imagination.
all
Indeed, there
scope in
design for
his
fancy
but he
no Zeus
that ornament
should
spring,
Athena-like,
Ornament
is
constructed, patiently
(I will
up on
lines inevitable
to
its
consistency
it
;
lines
expert
is
not
difficult to
very
skeleton
and
4
families
the ornamentist
is
able
Like the
scientist,
he
is
able even
all
appearance dissimilar
out
how few
upon
which
all this
framed.
suppose for a
this is
moment
man
to imagine (and
logical construction
as
but,
though
in
skeletons.
do
more than
and no
that,
it
is
impossible.
is
He may
repetition,
no
moment he
its
it so,
repeats
that unit,
repetition
proves to be,
in
may
call
the cupboard
will be found. might be imagined that by designing in some such haphazard fashion as I have just
It
supposed, the
artist
line,
would secure to
his design
a freedom of
readily to be obtained
systematic method.
Introductory.
means
so.
If,
absolute
uniformity
in
it
is
no one feature
another,
it
may
for
claim
much
it
as a design.
And
was
measures merely to
If,
some dominant feature or features, which, when many times repeated, will appear more
prominent than
ever.
It is to, these features
;
and
it
the lines
if
and, as a
Every one must have suffered more or less from wall-paper, and other patterns,, in which certain ill-defined but awkward stripes impressed themselves upon him and he may
awry.
;
have imagined
it,
possibly, if
he thought about
came of working
diagonal
lines.
upon
vertical, horizontal, or
6
It
working upon
definite lines at
A designer
who knew the ABC of his business, would make sure of lines not in themselves offensive;
he would counteract a tendency to stripes in
one direction by features directing the attention otherwards
;
unduly asserting
it
as in
its
naked(it is
ness
might.
He
fore-armed against
it.
of valour
who
disdains to
principles, or
with-
only by a miracle, or
failure.
fluke, that
he can escape
The
over-
whelming odds are, that the petty considerations he has despised, will be quite enough to wreck any venture he has dared in defiance
of them.
Since, then,
it is
there shall be
definite lines
designseeing that if you don't arrange for them they arrange themselves is the merest
^it
common
sense to lay
Introductory.
or framework
pattern.
You
few.
will see,
when they
very
II.
PATTERN DISSECTION.
Repeated- pattern
cording to
First
stripe.
its
may be
classified
ac-
structure, I said.
in
It
comes also very early in order of invention the loom must from the beginning have suggested the stripe-pattern, which practically grows out of it.
:
The
stripe,
For
Suppose a
is clear,
series of horizontal
bands broken
It
at equal intervals
by a
series of rosettes.
fall
;
that
if
the rosettes
other,
lines
they are
If the
shifted
cross lines.
a series
?late2.
1 T
"as
^BU
"
ii
SGI
(7^6
ill
flA%5 II
?late 3.
l-t-Lt-4
,-
Cross
lM;ob
rh-^eo
.
L^-tticcI
ULLHILDIUI 11-^^
Jjiui FTtl
g^
I7%&
pi] ^4^
Og olP I OlBf Ml
"l 1_1^
H^allrai
alaBBla|DlD|
I
r
/CrosstJa'tl-eriT.
rc/v^A^/\
'MJI
\AAAAA
%ffim;
^Ute
4.
cj'.Mi,'aiiiiu...i;r.'"."i
h.tv.
Pattern Dissection.
of waved
series of
lines, or,
still
g
in
more
plainly,
when
it is
repeated,
And
This
so
we come
first in
point of
time, arising as
of plaiting.
You have
what
of two different
check, or
familiar to us in black
and white
2.)
as the
chess-board pattern.
Suppose the interwoven strips were all of one colour, then the lines, of intersection would
make a lattice or basket-work pattern. The simplest form of check or lattice is when the crossing is at equal intervals and at Vary the interval, and you right angles.
have
all
manner
of plaids
and
tartans.
Alter
your point of view (or turn the design 45 degrees round) and you get the diamond.
The
real
difference in point
of view
:
makes no
difference
direction,
in
plan
it is
a stripe
may
take
any
but
always a
stripe.
But
if we alter the angle at which the lines cross, we get not only a fresh variety of
lo
shapes,
we
get also a
diamond shape
which, for the sake of clearness, I will call the diamond, which plays a very important
part in the next order of patterns, at which however we have not yet arrived. Various plaids,. diamond's, and other developments of
3.
no particular reason
filled
why
they
should always be
chess-board.
.
in alternately
la
They may
just
as
well be
on, re-
grouped
solving
variety
and so
as
of great
and even of
2.
intricacy,
may be
seen in Plate
or
contended that
the square, or
that can
be woven, the threads forming the squares on which the design is laid. This is obviously
absurd.
The only
are
patterns
built
on the
square
those
in
which, the
artist (con-
sciously or
The
coarsely-
woven
^-^lale
5-
Pattern Dissection.
belong, not to the pattern, but to
lation into a textile fabric.
its
\ i
trans-
we take
the
and work upon them, we without departing from those lines (onlyof the
lattice,
ceeding intricacy, as in the case of the "fret" number of these are shown on Plate 4.
limit to the ever-increasing
all built
There seems no
scaffolding.
From
for
a distinct order
But
it is
only a variety.
whether a design
lines,
is
constructed on geometric
or
only ar-
it falls within them. The when you come to dissect the two, is the same in either case. Our theory of construction, therefore, applies quite as much
ranged so that
skeleton,
to sprigs, spots,
as to those in
You have
not done
suc-
away with
ceeded
in
construction
keeping
the
scaffolding out
of
Again, the use of the broken line instead of the straight, or of the curved (which
sight.
we
shall
particularly-
further
effect.
on),
makes no
skeleton
lines
difference except in
is
The
the
all,
5,
same,
though
planned
you show no
at
as in the "all
is
which
lattice lines.
So
far
we have had
all
to do
simplest of
most two
one another.
The
lines constitutes
new
departure,
and a most
important one.
Cross the square lattice
by a
series of dia-
gonal
lines
bisecting
the
right
is
angles
to say
one
starts
with a lattice
of
diamond
shape,
a third
diaper
angles of
the
diamond produces
if
equally
of triangles.
And
sharp
certain proportion^f,
to
say,
two
^loLte 6.
n^late
7.
cj'ir-a,Tk>><i.itk'.SKfBii
.n<ivn>,x.c
fPlate 8.
CTIU.'ElLMaldeh'.
Pattern Dissection.
the blunt
third
angle
of
the
diamonds by
arrive at
all
this
series
of cross
lines to
the
is
equilateral triangle,
far
which of
triangles
useful in design.
as in Plate
which
and other shapes, such as that on Plate 7, is made up of seven triangles (i. e. three
triangle)
;
diamonds and a
which
is
or that on Plate
8,
composed of eighteen
triangles or
three hexagons.
6,
7,
8, will
designer's scope is
now widened.
We
finity
in
all
that in-
we
in
find
Byzantine
and
it.
the
It will
hexagon,
shapes,
the
star,
and
form
compound
themselves
exactly-fitting diapers.
By
another
new shape
is
evolved.
lattice,
Returning
if
it
cross
we by
cross
itself.
14
that
four,
is,
cut up into
(Plate 9)
you get out of those lines the octagon but not an equal-sided octagon
;
that
is,
built
on a cross
lattice
of different
proportions.
The
will.
octagon, however,
is
will of itself
It is
that
it
Place side
by
side a series of
between (Plate
ated, patterns
9).
witness
interlacings of the
Arabs
all
of which, even
common cane-bottomed
chair.
It is possible to carry the principle of radiastill. You may, for example, cross more elaborate lattice by a lattice like itself; but you get by that means rather
tion further
this
especially
it
when the
In
ultra-elabora-
tion of lines
employed,
appears almost
as
if
new
;
principle
(Plate 10)
but upon
designs
fPlsLte 9.
.JI,tM*11*>>Dl^AwaJ.
3>nV>i
^late 10.
Pattern Dissection.
resolve
-
15
themselves
into
so few
Why,
diaper
it
may be
asked, can
lines,
on other
on the
Well, you
may
if
put
a very re-
especially
you
pentagons
with
five-pointed stars.
ment,
to upset
promised
all
my
the
patPentagon diaper and
its
neatly
theories
arranged
on
of
subject
tern
anatomy.
skeleton.
it,
to discover
friend the
diamond
as at
in
disguise
but so artfully
made up
it
is.
first
sight to deceive.
There
It consists of
the interstices
filled
with stars
and
triangles,
much
as the pentagons
them-
must be
those
which are
possible pattern.
in design,
we must resort
circle.
The
foregoing plans.
say,
It
must be
struck, that is to
been described.
it is
may
be so
the
But the
itself,
it
circle is
so important a
alters
it
so
entirely
deserves
ornament.
Whether
of no great conse-
^la-tell.
Pattern Dissection.
quence.
Instinct
17
One may very easily deduce many of the common curvilinear patterns directly from
angular motives.
(Plate
1 1.)
The wave,
for
example,
is
a zigzag, just
as
Round
or octagon,
and you
The
relation of the
hexagon or octais
gon diaper
obvious.
one
may
suggest
cells
of the
honeycomb
all
gravitation; just as
you
is
crowded
become hexagonal
sees the
prisms.
familiar to
perceived in the
first
stars.
we by
human hand may have consisted of circles. The primeval artist had only to pick up the
c
is
I
damp
for
earth
it,
impressions, which
would pass
I don't
a very
respectable diaper.
I
say that was so. upon it, that the ways in which patterns are formed can be reduced and that they practically to the siniplest force themselves upon the workman^making him, as it were, an artist in spite of himonly
mean
to insist
self.
The circle, with its segment the curve, and compound the spiral, assumes extreme importance whenwe come to the consideration of the scroll (with which just now we are not
its
concerned)
but
it
it
will
in
mere diapers
leads to an apparently
new
order of things.
The
the
is
when
.circles
diamond plan
and so as
.
By
is
one by
the
another, an effect of
at once obtained
;
much
and
greater elaboration
it
makes
all
dif-
ference whether
they are struck (as in Plate 12) or not (as on the upper part of Plate 1 3).
CPlate
12.
fPlate 13.
^i^pers
-"-^b-^i-W,^^^.
(^i^j^g
*COiislY-uctio(i
of Scale "pattern,
n^lsLte 14.
Pattern Dissection.
Out
of the
circle,
or
its
segments,
we get
manner
and
all
you can construct the scale pattern, which (as you may see on Plate 15) might equally
have been derived from the scales of a
or the
fish
plumage of a
bird's neck.
The
scale
may also
scales
Re-arrange the diamond into curved lines. and you have a more graceful, as well as a more complicated, diaper (same plate)
in
before,
of the hexagon.
The hexagon
,
itself
it.
Suppose a network of
ogee shapes
wave
lines or
it
.thing
is
figures
In this
way
by a veiy different road, we reach always, in maze of pattern-work, the same pointy C 2
2o
The
is,
A natomy of Pattern.
is built.
which
which pattern
From
curved (Plates 12 and 13) result all manner of new diaper forms ; which, however, present
way of skeleton. You might start a scroll pattern, such as was common in the sixteenth or seventeenth cennothing very new in the
turies (Plate
hexagon or of the ogee, or of a mixture of curved and straight lines which I may call the
broken ogee
g-roundwork
;
and
in the
end
it
or even whether
betray.
I
rudi-
intrinsically
interesting
or
may be
both
More
especially
is this
be employed to soften
marble
inlay,
the material
n^late 15
Pattern Dissection.
monotony of the
shapes.
it
might impart to
it.
(Plate 14.)
But
it is
more
all
we
The basis
tial
of
repeated patterns
this
is,
as I said, as essen-
geometric.
And,
being
so, it is
that
figure
draughtsman
should have
some
For
art
all
suppose.
He
be conveniently
out for
worked
and
the lines
mapped
him
by the
have decreed.
They
and so we begin
to see
had there been no such thing as pattern design before, and no traditional forms of
22
have been evolved as certainly out of the more complex conditions of modern manufacture as
they were out of the simple contrivances of
That is to say, that the by the primary processes of netting, plaiting, and so on, would equally have been prescribed by the printing roller or the power loom.
primitive handicraft.
lines first given to us
It is
.
in
how
we work
identically the
many ways
in
which
it
Put side
by
side a series of
waved
either
plate), if the
ogees interlace,
impossible
ogee, or of
waved
lines,
cess of netting.
On
in
Plate i6 are
which
one
pattern
may
be arrived
^late
16,
Pattern Dissection.
1.
23
By By
the juxtaposition
addition of cross-lines.
2.
By By
By
the
juxtaposition
of right-angled
star.
the interlacing
of
two
series
of
lines,
6.
or lozenges,
And
the
result
this
number of ways
which the
same
dif-
To
you know how common it is to see a waved line with leaves alternating on each side of it. It appears on the face of it, a quite mechanical and arbitrary arrangement
ferent kind,
By
merely ex-
24 So
it it
mentist, to
in the
hands of an ornamentist.
-v
late 17.
erKA.nii>iidu.sn>(T>i st.H.'aaM.x.c
25
III.
by the circumstance
cases practicable.
In practical design
limitations are strict
;
for
manufacture the
it is
and
only by sub-
mission to
them
design
is
possible.
Nor
is it
affected,
but
its
plan also.
Oriental mind, delighting in geometric
The
intricacy,
has availed
itself
largely
of the
built up with it all manner of delightfully elaborate patterns. The modern European finds it more convenient to him to adopt the simpler parallelogram. He may now and then use hexa-
gonal
prefers
or
other many-sided
square.
tiles,
but he
weaver's
the
So
also
the
and though
26
the printer
make
use of the
roller instead
-
unaltered
is,
shape of a cylinder.
Even the bookbinder of the Renaissance, who was comparatively free to do what he liked in the way' of "tooling," was led, whether by instinct or by his tools, to adopt
a
rectangular
is
repeat,
as
in
Plate
i8
in
which also
in the
exemplified what
may be done
comparatively
way
so as with
drawing to produce
the effect of an
extensive pattern.
We have,
sible lines of
pattern
construction
in their
is
which
the
by the
is
conditions of
modem
manufacture.
The base
of our operations
then usually
a parallelogram.
is
in all
and
in
most cases of
more
For example
printing,
it is
in
?late
18.
27
Custom has further fixed its width at 21 And, since a block of greater length than that would be unwieldy, we are restricted
inches.
to a square of 21 inches
by
21 inches.
The
of the
block
may
design,
made up
But
of as
many
in practice the
ceeding would
make
more than
worth
;
paper-hangings
ations,
is
contrary to
most capable
art to
artist is
he
value out of
his materials.
As
at
most 21
Within those
free
;
limits
he
is
comparatively
but, as I
his
he
will,
into
geometric
lines, if
gram on which
it is built.
A pattern, such as
28
A, on Plate
eonform to no
actual
may seem
at first sight to
;
conditions of restraint
but the
apparent on
closer inspection in
any
single feature
whose
you
recurrence
will find,
is
to be traced.
It is based,
facture
may beand we
tiles (if they,
any
use)
on the usual
three, six,
;
textiles
by
controlled
and
as a width prescribed.
The
proportion of the
be confined
with the
we
are designing.
tell,
An
from
ticular
it is
And
9la1e
19.
CrKelPhoto-llth,
29
fully
There
is
no occasion
to enter
more
is
subject
is
of them, however,
It is as desirable that
the architect,
tiles
may be
and
it is
he should be able
;
to reckon
upon the
carpets, chintzes,
and so
on),
it
would be
difficult to estimate,
off-hand, the
As
it is,
the public
is
that way.
The
difference
is
between 18 and
2 1 inches in width,
realise,
when he
selects
it,
that
it
Something very
like
a
this
swindle
is
perpetrated
when
facts
of
kind
are
is
There
him the
in-
30
To
is,
the
upshot of
it
his
and that of
It
with him
how
far
he can
avail himself of
any
set
other basis.
The
student might
with
advantage
way
would then
be seen
that,
though
all
One
to give.
instance of this
it
may be
worth while
you wish
it.
to
Only those who have tried the experiment have any notion how small the hexagons would come. If you made your hexawidth,
gons 10^ inches wide, so as to get two in they would not come true in the
;
length
If
you made
-?late 20.
lia>,9Jin>tHl
them
not
true,
they would
fill
by
18.
Three
hexagons
as a
"
and
in
half
the width
gons
across.
of
six
inches
to
In
order
would need to be
duced to half that
that
is
re;
size
to
say,
there
will
plainly
be
seen, in
this
instance,
how very
artist
is
strictly
the
bound
by
considerations
scarcely occur
which
to the
<-5caTe21 ioc1;)e->
32
uninitiated, considerations
had
a great deal to
pattern-work.
it
it is
a wicked
way
she has
be
first
instance.
Out
for
of the conditions
of weaving
came,
and
Colouring
(as
in
the
silks
of
imaginary central
Plates 20 and
21,
line.
This
is
shown
in
the
1
from a coarse
seen what
5th century.
further be
In Plate 22
influence
pattern.
may
the material
may
exercise
upon
class of patterns
as
little
^kte
21.
?late 22,
33
essen-
The
tially
is
a weaver's device.
In a pattern similarly
is
no occasion
for
same
the
rigid
symmetry
it
of the
two
sides.
On
contrary,
is
desirable
rather
to
in
introduce
Plate 23.
some
variations, as I
have done
34
IV.
The most
things considered,
the diamond.
the designer
is
danger of
danger which
occur always
level.
is
side
The
printer's block,
is
we will
say, is a square
;
or the roller
its
equivalent
or the cards
.
take that
strip,
form.
or what end of one repeat must tally with the beginning of the next, in order that the
not, the
pattern
piece.
may be
Equally of course
design must
?late23.
The
'
Drop "
Pattern.
35
on to the
left
of
another,
and so on.
is
But
it
may be
so
say
three inches
it
on the same
lines, but,
level.
with even
more unfortunate effect. The design steps downwards and the shorter the steps, the more noticeable is the line they take. This " difficulty is avoided if you make the " drop
;
another.
If
any
it
is
and
of
below,
may
is
trellis
diamonds.
There
good reason,
36
the diamond
for
upon
its
it is
pattern
that,
depth.
Instances
of drop patterns
in
and others. One has heard persons, more familiar with the forms of ornament than expert in practical
Plates 17, 24, 29, 32, 33,
design, complain of the
difficulty
perience in
scheming
a "drop."
would only think of the problem as the filling of a diamond shape, it would come
very easily to them.
When
a
is
upright
line,
the artist
has the
dis-
posal.
If
you subdivide a block of 21 inches thus, so that the two smaller divisions a and V together
equal the larger division ^, it amounts to precisely the same
thing as though you designed upon the basis of a squat diamond 21 inches high by 42 inches wide. You have only to
^Iate24.
CF.KollPlioto-LitTi
The
"
Drop "
Pattern.
37
must be
dis-
symmetrically
the
one side of
not work.
it
must
other, or
it
would
of
in
this
is
way
is,
what
but
in the
From
it is difficult
common
property of designers
for all
manner of
fabrics,
but undreamt-of
in
the
may
arrive
result.
same
This
the
plain
is
plainly
shown
in Plate 25, in
which
how
You might
snip
J8
The
A ndtomy of Pattern.
square
;
and make with them the diamond or if you dispose them differently, you might produce the oblique shape which last would amount to the same thing as though you had cut off
;
For
all
that,
it
makes
practically all
the
Your design must be influenced to a very considerable degree by the shape you set
yourself to
fill.
It
to you,
you.
So
it
may be
is
such
on the
lines of the
diamond
whilst
you are
its
In designing for
the material
is
tiles
like,
where
Where
designer
is
increased
out
of four
The
'^
Drop"
Pattern.
he can
39
get, for ex-
tile
So
tively
limited
set
of tools,
;
has
very con-
although
him
to
than to another.
40
V.
SKELETON PLANS.
The
lines,
designer finds
venient to design at
because their
ordinarily
any other
"
on which the
drop
can be worked.
intention of
full
width of a block,
order
to
may
still
only
in
economise design
is
and,
But
for
stamping, and so on
ourselves
to
we
should
confine
-
embroidery,
tapestry,
painting,
and other work of our own hands. If you begin by dividing the width of 21 inches into two, and make your pattern a
'drop," 21
inches long
by \o\
wide,
it is
the
same
as
Tiate 26.
Skeleton Plans.
41
to point, as
may ,be
seen at
same pattern would probably not have occurred to you in either case. Designing on the diamond such a pattern as the last-mentioned might very likely occur to
said before, the
one
on the
lines of the
dropped paralleloa
gram, more
Plate 19.
likely
such
one
as
B on
you divide the width of 2 1 inches into three (A, Plate 26) and On those lines set out a series of diamonds 21 inches long
Again,
if
by 14 inches
work
only
fall
one-half
depth)
if
Variously
diamonds would not repeat. If you still divide your 2 1 inches into three, and institute a series of stripes or panels of
seven inches wide, each of which drops at the
same
interval (whatever
it
may
be),
it is
likely
more
or less pro-
nounced
have
been
of the
upon diagonal
only
also
lines.
three
stripes
one
were
as a
would
hang
42
may
be subdivided (what
21 inches
is
of
the
supposed
applies
said to
show
how by such
of scale
may be
you come back always to the same few schemes and although in any case your pattern might equally have been designed upon other lines, working on those lines it never would have
Although, however you
start,
;
'
occurred to you.
The
Plate 27
it is
diamond
repeat, but
work upon the lines of that diamond, but probably upon a network of diagonal and
horizontal cross-lines
of Plate 20.
The
inevitable influence
the excuse,
n'l
ate
27
_ionat
rormoS upon "tbey
C
(..;. of tS|
"J
'\j^
Skeleton Plans.
It
is
43
have roughe;d
you see it, as it were, from two points of view, and can form a very fair idea as to how it
repeats, without
The
to
practical designer,
who
up deon
parts, in order
A design
what were the corners of the design come together and form the centre, and so on. The accompanying diagram shows how
re-arranges the quarters^ so that
the
parts of
the
diamond may be
re-arranged.
possible tests
is
stencil
of
the
design,
so as roughly
indefinitely.
A child
;
can be
and
it
44
Whatever the lines of the skeleton, in any important work they are usually disguised. Sometimes (as often in Arab art) they are so crossed and interlaced that it is difficult
to follow
their
intricacy.
The
really very
that
you
or
>
too conspicuous.
The
29,
is
eflfect
of this
is
to
in
be
seen
in
Plate
a drop
pattern,
which
growth
ning
it.
the
attention
diverted from
the
\ '
much
freer
character
overrun-
Further, features
may be
fails
introduced of such
is
drawn
In
to them,
and
to
perceive the
30
ogee or diamond
set out.
lines
is-
In
fact,
the birds
emphasise the
flaf6 28.
Plate 29.
Skeleton Plans.
reveals the unit of the ornamental repeat
;
45
and
of
some
artistic
account in design.
Obviously, however, the most effective
of disguising the skeleton
is
way
it,
to clothe
as
way of doing
folia-
tion
lines
noticeable
as
the
stiff
and blossom.
By this
this
interest,
and variety so
already
lengthy
explanation until
fail
became
sceptic
tedious,
and yet
in
to
make
the
quite
believe
plicity" of
pattern.
as
Roman
or
even in Plate
32), looks
And, of
built up.
course,
it
never
all
is
mathematically
it
But, for
that,
falls into
is
the
familiar lines.
The
spiral itself
;
only a series
dissect
of segments of circles
and
if
you
any
46
back-bone
is
a wave line or
it
Certainly
you
will find
has a back;
bone.
Pattern
is
a vertebrate thing
is
and
in
scroll the
spinal cord
very decidedly
scroll
pronounced.
is
You
broken-backed.
?1ate ^0,
]3Ae3].
a.te
32.
i^iik..ajt u. J.
w.B .,.
Appropriate Pattern.
47
VI.
APPROPRIATE PATTERN.
It is
learns to
not,
Many
a notion
which one had a thought of adopting, turns out to be practically quite unamenable to
existing conditions.
You
out
caniiot
draw a
considerable
allowance in
the
way
it
of
may
very
is,
be
much
the
restricted.
The
characteristic
lines
of
time-honoured
working.
It is
owing to the
peculiarly
with which
tri-
angular cubes of
that the
tile
can be manipulated,
geometric character of
48
much
us,
due.
So
also with
tile
the
have
ornament.
do not pretend to say whether the turning over of the design which prevails in early
I
silks,
fact
that such
so, readily
done
in
weaving
though
weavers generally,
adopted that
it
they
and in all such reversible designs planned upon the diamond, hexagon, or ogee, onehalf the labour of designing and card-cutting
is
saved.
has been
the
owes
its
you
may
is
with one
If that
two sides of
not
so, it
well might be
except
that, pro-
common
it is
long
Very possibly
derived
C F
Kell Pliolo-Lith
^1 ate 34.
Appropriate Pattern.
from the practice of folding or doubling.
49 One
may
them
alike.
That
in
gave
rise
at
all
events to Boulle's
;
characteristic
inlay
patterns
and
the
still
sees a very
Bands or
common
in
in
&c.,
Even
dis-
more elaborate
of the
silk
and other
designs,
certain
colours
tributed band-wise.
The
variety of colour so
obtained,
is
At
economy
is
thus often
effected.
such
a design' as that on
meant
to
appear
where the flowers or eyes actually occur. You have but to look at the back of any
old piece of many-coloured silk
damask
is
to
usually to
50
disguise
But
phisticated artist
line.
had no
fear of a horizontal
make
the various
bands of animals
in various
colours.
He
shape.
And
him.
the
effect
of this rough-and-
ready proceeding,
justifies
much
so, as to
and
fol-
Italian.
was from Sicily, you know, that the art of weaving was introduced into Italy.) Designers would be the more ready to adopt, and to adhere to, the plan suggested.^;
by the
it,
line, due to was not anyways injurious to the effect of a fabric meant to fall in folds. The dim vertical
line,
which was also likely to occur from the turning over, was calculated to lose itself in
..the
verticality of the
n^l8LTe35.
Appropriate Pattern.
folds
;
had an absolute
is less
unobjectionable
so
and
it is
many
shall
or stolen from
good old
stuffs
you
know them
are
To
by their stripes
altogether unsatis-
want the
folds.
beautiful effect
of such
as that in Plate
35 would
were rendered
in flat decoration,
would be unendurable.
actually
at
by
carrying across
upright lines a
broad hori-
band of
rosettes.
Many an
flat
wise in every
way
suitable, is inapplicable to
silk,
Some
52
The
A natomy of Pattern.
consists
therefore
before.
done
but
?
That
all
word pattern
how about
I
say
In
to use in another,
it,
is
it
needs to be translated
is
which trans-
lation
is
in
him
and not go
melodious
The most perplexing thing about modern design is that we are asked tcdesign, to-day
under these conditions, to-morrow under those.
We
style.
And
and
in
if
manded
is
a kind
we have
tion.
any,
is
excited.
The more
difficult
Appropriate Pattern.
of
53
pugnacity
tough problem.
designer, not
at a design, but
man
proves himself a
arrived
LONDON
PRINTED BY WILLIAM CLOWES AND SONS, LIMITED, STAMFORD STKEET AND CHARING CROSS.
B. T.
BATSFORD,
52,
APPROVED BY THE SCIENCE AND AET DEPABTMENT. : Short Essays on the Arts not Fine. By Lewis Foreman Day, Author of " Instances of Accessory Art," &c.
With upwards of loo
illustrations, chiefly
Series of Original
Designs for the Patterns of Textile Fabrics, for the Ornamentation of Manufactures in Wood, Metal, Pottery, &c. ; also for the Decoration of Walls and Ceilings, and other Flat Surfaces. By Chr. Dresser, Ph.D., &c.. Author of "The Art of Decorative Design" ; "Japan, its Architecture, Arts," &c.
fjO
The
Robert
in.
by I3J in.), selected from " Works in Architecture," published 1778-1822, and Photo-lithographed by James Akerman. Neatly half-bound, i/. 5j.
Decorative Designs.
2s. 6d., post-free.
By Robert Adam.
Transfers,
taken from the Original Drawings in the Soane Museum, by R. Charles. (>fine large plates of Ceilings, Scroll Ornaments, &'c., folded in wrapper,
Grammar of
many in Colours and Gold, representing all Classes of Natural and Conventional Forms, Drawn from the Originals ; with Introductory, Descriptive, and Analytical Text. By T. W. Cutler, F.R.I.B.A, Imperial 4to, in elegant cloth binding, 2/. hs.
Illustrated by 65 plates,
as
shown
in
employed in the use of Marble, Stone and Terra-Cotta, Metal, Wood, and Textile Fabrics ; as well as in the various Details associated with Decorative Art. The whole exemplified by 85 Lithographic Drawings (each with some Descriptive Explanation) of Antique, Mediaeval, Italian, Renaissance, and Oriental Examples ; including some Illustrations from the best unpublished Works of the " Brothers Adam," together with other Designs from more recent Authorities. By Owen W. Davis, Architect. Royal 4to, cloth, gilt edges, 2I. 10s.
in
the Historic
a Collection of Choice Authentic Examples, represented on 36 Royal 4to, cloth gilt, loj. td. plates, printed' in Colours and Gold.
WORKS ON DECORATIVE
Suggestions
ART.
a Series of
Drawings exhibiting a Variety of Birds in their Haunts, Groups of Flowers and Plants, &c., drawn in a highly Decorative spirit, for the use of Designers, Decorators, and others. By J, Thomas, Decorative Artist, Author of "A Portfolio of Japanese Sketches." 42 large folio plates photogiraphed from the Original Drawings, in portfolio, 36J.
Art Books:
Book
a Charming
.^
most Characteristic and Life-life Attitudes, surrounded with appropriate Foliage and Flowers. In Two Books, each containing 66 pages of highly Artistic and Decorative Illustrations,
Printed in Tints.
Price, 6j. td. each
;
Art
and Decoration.
By
J as.
K. Colling.
plates,
Second Edition, Enlarged and Revised, containing 81 with letterpress and numerous woodcuts. Royal 4to, cloth, \%s.
Flat Ornament
a Pattern
Book
for
Designers of
Textiles, Embroideries, Wall Papers, Inlays, &c., &c. i^o plates, some printed in Colours, exhibiting upwards of 500 Examples of Textiles,
Embroideries, Paper Hangings, Tile Pavements, Intarsia Work, TapesBookbindings, Surface Ornaments from Buildings, &c., &c., tries, collected from Various Museums, Churches, Mosques, &c., &c., with some Original Designs for Textile and other Ornament by Dr. Fischhach, Giraud, and others. Imperial 4to, in portfolio, 25^.
Original Sketches for Art Furniture : By A. Jonquet, 1 A Series of Designs for Modem Furniture in the Jacobean, Queen Anne,
Adam, Chippendale, and Sheraton Styles, illustrated in 143 Designs on 65 lithographic plates, exhibiting Examples of Drawing Room, Dining Room, Bedroom, and Hall Furniture, Chimney-Pieces, &c. Imperial 4to,
cloth, 25^.
Twenty
photo-hthographic plates, exhibiting a great variety of Designs in the Japanesque aud other Styles. By John Ward. Imperial 410, bound,