DOI Heft:
The international Studio (October, 1907)
DOI Artikel:Haney, James Parton: The designer's approach to his problem
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.28252#0496
The Designers Approach to His Problem
object has to do the less should be its decoration.
The lowly form should seek beauty in fine line and
just proportion; one more distinguished may be
adorned in keeping with its surroundings. Thus,
jewel-box, paper-knife (see Fig. 12), lamp-mat or
rose-jar may all see ornament appropriately ap-
plied, while spice-box, bread-knife, table-mat or
tea-canister are better unadorned. The form which
best admits decoration is one which itself serves a
decorative purpose.
3. The decoration of a form should make no undue
plea for attention.
Applied patterns should be modest as well as
simple. The means they employ to interest the
eye should show reserve. No florid and exaggerated
lines and masses should thrust themselves forward.
No painfully intricate lacings of stems should
puzzle and confuse.
There is a decorative value in open spaces. Not
all the surface which offers need be covered with
design. Contrast
demands that the
intricacy of pattern
be relieved by the
simplicity of back-
ground or panel.
Richness is thus
emphasized, not by
arabesque or scroll,
but by the compari-
son invited between
the movement of the
pattern and the sim-
plicity of the un-
fretted surface. Fig.
13 shows a silver
bowl in which plain
panel and ornate pattern, balance arid enhance
each other. More lines and shining bosses would
not add to its beauty.
4. Material beautiful in itself should not have its
beauty disguised by pattern.
This principle stands as a caution to those who
would worry fine leather or rich glaze by intricate
tool work and unnecessary modeling. Every
material has a beauty of its own. A finely grained
wood needs but scant ornament, and good carving
demands no bristling background wrought with a
matting tool. The designer who would excel must
not only know his material but must respect it.
He must let its beauty vie with the pattern which
he himself devises.
FITNESS
The three paths by which the designer must
approach his problem have been reviewed in some
detail. It has been shown that he must plan his
design with reference to the structure of the form,
figure 10
CXLII
object has to do the less should be its decoration.
The lowly form should seek beauty in fine line and
just proportion; one more distinguished may be
adorned in keeping with its surroundings. Thus,
jewel-box, paper-knife (see Fig. 12), lamp-mat or
rose-jar may all see ornament appropriately ap-
plied, while spice-box, bread-knife, table-mat or
tea-canister are better unadorned. The form which
best admits decoration is one which itself serves a
decorative purpose.
3. The decoration of a form should make no undue
plea for attention.
Applied patterns should be modest as well as
simple. The means they employ to interest the
eye should show reserve. No florid and exaggerated
lines and masses should thrust themselves forward.
No painfully intricate lacings of stems should
puzzle and confuse.
There is a decorative value in open spaces. Not
all the surface which offers need be covered with
design. Contrast
demands that the
intricacy of pattern
be relieved by the
simplicity of back-
ground or panel.
Richness is thus
emphasized, not by
arabesque or scroll,
but by the compari-
son invited between
the movement of the
pattern and the sim-
plicity of the un-
fretted surface. Fig.
13 shows a silver
bowl in which plain
panel and ornate pattern, balance arid enhance
each other. More lines and shining bosses would
not add to its beauty.
4. Material beautiful in itself should not have its
beauty disguised by pattern.
This principle stands as a caution to those who
would worry fine leather or rich glaze by intricate
tool work and unnecessary modeling. Every
material has a beauty of its own. A finely grained
wood needs but scant ornament, and good carving
demands no bristling background wrought with a
matting tool. The designer who would excel must
not only know his material but must respect it.
He must let its beauty vie with the pattern which
he himself devises.
FITNESS
The three paths by which the designer must
approach his problem have been reviewed in some
detail. It has been shown that he must plan his
design with reference to the structure of the form,
figure 10
CXLII