DOI Heft:
Nr. 107 (January, 1906)
DOI Artikel:Owen, Esther S. D.; Bunce, Louise M.: Nature's aid to design, [1]
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.26961#0383
Nature s Aid to Design
hind the presented
picture to discover
the value of the
skeleton as absolutely
necessary for work in
design, and see in the
accompanying plates
the wonderful oppor-
tunity for building up,
according to the arti-
san’s originality, de-
sign suggested by
Nature’s mere frame-
work. One has but
to compare these
presented possibili-
ties with the copy
set in art schools of
the present, both in
kindergarten and ad-
° FIGURE S
vanced classes, to re-
alise their worth.
Observe a pupil studying for the first time in the
object dass. He may and does find it a compara-
tively simple matter to draw a form bending to
left or right in his composition, but his pendl is
stopped when he tries to make a leaf or flower bend
toward him—that is, out of the flat. Let him refer
to the photograph, study it with the objed, and his
difficulty is solved, for there, on the flat, by aid of
the natural shadow, Stands out his form, and he
has but to study it to master thoroughly the diffi-
culty. One cannot lay too much stress on the value
of such help, as will be apparent to any who have
had similar struggles—saving of brain fatigue,
discouragement and despair to the faithful Student!
Note Fig. 8: not only does the photograph push
forward the leaf in high light, but also, by its depth
of shadow, it sends back the growth of that same
leaf at its stem; result—form, perspective, high
light and shadow from a leaf whose inner edge lies
almost along the plane while its outer edge Stands
well out of the flat. The value to the student is
apparent. and the work indispensable. There are
a thousand such proofs that Nature’s material is
unlimited. As an example of this, turn from any
one of the foregoing plates to Fig. 9, and see at once
the paper-like texture shown in this photograph
of the jonquil.
And here comes a new field of study, texture. We
have spoken of the value of form and perspective.
It is quite as neces-
sary to reproduce
texture correctly, for
the sake of the flower
when working in
black and white, but
pre-eminently for the
. sake of varicty in de-
sign when working in
colour. That photo-
A 'JB/fN art we do not say,
but as a wonderful
help to the tottering
footsteps, leading to
art’s high places, we
1- bespeak the import-
ance of such repro-
ductions. In art we
must seek for that
Wl which makes our pic-
ture, or design, with
FIGURE g
LXXI
hind the presented
picture to discover
the value of the
skeleton as absolutely
necessary for work in
design, and see in the
accompanying plates
the wonderful oppor-
tunity for building up,
according to the arti-
san’s originality, de-
sign suggested by
Nature’s mere frame-
work. One has but
to compare these
presented possibili-
ties with the copy
set in art schools of
the present, both in
kindergarten and ad-
° FIGURE S
vanced classes, to re-
alise their worth.
Observe a pupil studying for the first time in the
object dass. He may and does find it a compara-
tively simple matter to draw a form bending to
left or right in his composition, but his pendl is
stopped when he tries to make a leaf or flower bend
toward him—that is, out of the flat. Let him refer
to the photograph, study it with the objed, and his
difficulty is solved, for there, on the flat, by aid of
the natural shadow, Stands out his form, and he
has but to study it to master thoroughly the diffi-
culty. One cannot lay too much stress on the value
of such help, as will be apparent to any who have
had similar struggles—saving of brain fatigue,
discouragement and despair to the faithful Student!
Note Fig. 8: not only does the photograph push
forward the leaf in high light, but also, by its depth
of shadow, it sends back the growth of that same
leaf at its stem; result—form, perspective, high
light and shadow from a leaf whose inner edge lies
almost along the plane while its outer edge Stands
well out of the flat. The value to the student is
apparent. and the work indispensable. There are
a thousand such proofs that Nature’s material is
unlimited. As an example of this, turn from any
one of the foregoing plates to Fig. 9, and see at once
the paper-like texture shown in this photograph
of the jonquil.
And here comes a new field of study, texture. We
have spoken of the value of form and perspective.
It is quite as neces-
sary to reproduce
texture correctly, for
the sake of the flower
when working in
black and white, but
pre-eminently for the
. sake of varicty in de-
sign when working in
colour. That photo-
A 'JB/fN art we do not say,
but as a wonderful
help to the tottering
footsteps, leading to
art’s high places, we
1- bespeak the import-
ance of such repro-
ductions. In art we
must seek for that
Wl which makes our pic-
ture, or design, with
FIGURE g
LXXI