Embroidery and Fancy Work/Decorative Design
DECORATIVE DESIGN.
I fear many will look at the heading of this chapter with the feeling that it, at least, will be of no value to them. But I would ask them to pause before they turn to what they will probably call the more practical parts of this manual; for the subject treated here lies at the very foundation of any work we may wish to do with needles and brushes.
I would like to impress upon all who wish to perfect themselves in decorative work the advantage of learning to draw and adapt, even if they do not invent their own designs. And this is a much easier thing to do than many think. I well remember the semi-despair that seized me when taking my first lesson in china painting, at being told by my instructor to draw what I wanted to paint. However, I found that by combining one or two flowers together, I had made what seemed then to me a very pretty design. And I have often thought that was about the most valuable lesson I ever received, for it showed me what could be done by effort, and encouraged me to depend on myself instead of on tracing paper. So much for a personal experience. Let me quote a high authority on this subject, Mr. Leland, of the Philadelphia Industrial School. In his "Manual of Drawing and Decorative Design" (a most suggestive and helpful pamphlet), he says:
"The first thing for the pupil to do is to become familiar with the lead pencil. I say the lead pencil—though if a black-board is accessible, it is to be insisted on that all that is done with the pencil shall also be practised with chalk. Free-hand drawing cannot be too free. The hand, practised to sweep boldly yet steadily in spirals, circles and curves, can be trained in a short time to a rapidity of execution and an unerring accuracy which seem miraculous to many. Let us consider how this is to be acquired. The beginner should take a lead pencil, not too soft, an H. or H. B. (hard or medium) will do. Practice for some days on a ground-glass slate, such as costs from twenty-five to fifty cents, tracing the outline pictures which are sold with such slates In tracing the outline pictures draw very slowly indeed at first.… Draw with the point of the lead, not with its side.… After practising on the slate until you feel familiar with the pencil, get some transparent paper, through which an ordinary outline picture can be plainly seen. Now trace with increased care."
When the mastery of the pencil has been so far attained that you can draw a firm but light sweeping line, you can begin copying good outline sketches, say a simple spray of leaves. The next step may be taken by arranging the leaves in a circle, or along a line of construction formed by drawing semi-circles or segments of circles alternately above and below a horizontal line. If you find difficulty in doing this, cut your leaves out in paper and arrange them on your construction line. Trace the outlines, and repeat. Inclose the design thus formed within parallel lines and the result will be a design for a border. For a centre piece you would need a different method. Draw a circle or ellipse of the size required. Draw horizontal and perpendicular diameters through this, and arrange your leaves on these lines, or else arrange them in a wreath on the curved line. Mr. Leland recommends a little affair, made somewhat on the principle of a kaleidoscope to help in getting the idea of symmetrical and pleasing combinations."Obtain two strips of looking glass, each two inches wide and six inches long. Paste their backs on a single piece of tough paper, or muslin, which may just be brought over the edge to prevent cutting. Do this so that the glasses will open and shut like a portfolio. Now take any small drawing of any kind whatever, an outline sketch of a leaf being the best, stand the glasses upright at an equal angle, and put the small design between them. By the figure formed by the reflections it may be seen that any design, however meaningless or irregular, becomes symmetrical as a part when it is accurately repeated in union with itself."
Practice drawing a spiral line, for it, in varied combination, is the foundation of graceful design. "The first step after repeating simple designs, is to evolve the off-shoots or transcendental curves, or long V's from a spiral."
Study of a good, conventional design with an endeavor to discover its "motive" or foundation line will aid one much in forming combinations of their own.
The same general directions will aid one in forming less conventional designs. Study beautiful forms in nature. If you cannot copy them directly from the object, draw them from good outlines, using tracing paper if necessary. It will not belong before you throw aside this aid, and trust to your own resources. And as your power over your pencil grows, your interest in your work will also grow. Magazines and papers will constantly yield you new suggestions. A portfolio or box will soon be needed to contain your collection of "hints." Nature even will acquire a new interest to you. Copy, whenever you can, anything that strikes you as really good. Your taste will be educated in the process. By no means neglect to make copies of letters, either quaint or pretty. Your reading will soon be taxed for the benefit of your new pursuit. To say nothing of books bearing directly on the subject, such as the works of Owen Jones, Whewell, Dusser, etc., quaint or peculiarly appropriate mottoes will be seized on with avidity, either suggesting a design or illustrating one already in hand.
But in designing you must bear in mind the fact that you must work always within certain limitations. Absolute imitation of nature is impossible in decorative art. It is one of the principles most to be insisted on, that decoration is not picture making. It must not detract from the original usefulness of the object decorated. It also must be limited by the material in which the design is to be executed. Thus, in needle-work, the characteristic outlines of a flower are all that should be attempted. In working a pink or a corn-flower, for instance, it would be folly to imitate closely the notched edges of the petals. The fact that they are serrated can be indicated by a few lines. In like manner the veins should be suggested rather than closely copied.
Again, the design should be clear and free. Leaves which are naturally crowded and overlap each other should be so far conventionalized as to lie flat and distinct. While we may alter the arrangement of leaves and flowers to suit our purpose to a certain degree, we must remember that the character of the plant form must always be maintained. We may make a trailing or wreath-like design of the ivy, rose, or blackberry, because nature herself suggests such a use. But a wreath formed of tulips, daffodils, or calla-lilies would be a sad mistake. The upright flowers, are, however, very useful for such purposes as borders, mantel balances, etc.; but when thus used, the flowers should always be supported and bound together, in a manner, by one or more horizontal lines of decorative work. If for a border, lines above as well as below the design serve to emphasize it and throw it out. The same effect is produced by working the design on a separate strip of material and applying it to the piece of work to be decorated.
I have dwelt a little at length on this subject because so many of the decorative arts are dependent on it. In fact, I doubt if any ever attain too much excellence in certain departments of ornamental work, without finding, through much tribulation, that they must learn to draw.
One caution in closing. Do not, until you have practised for a long time, attempt to draw from memory. Have the form which is the foundation of your design before you, remembering always that no matter how much you may conventionalize that form, the characteristics of the original must be preserved.
Let me add a word of encouragement taken from the Manual quoted above. "If a beginner can only draw a line half an inch long, in a clean, well-defined manner, and with confidence, he may hope to do anything in art," and "My own experience warrants me in declaring that grown-up people learn to draw much more rapidly than children, since they have better memories, stronger will, and far more perseverance."