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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 1

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 23

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--Brushwork-- Charcoal--Pencil--Pen 51

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 73

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 108

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 Mediaeval City--Organic and Accidental Beauty--Composition: Formal and Informal--Power of Linear Expression--Relation of Masses and Lines--Principles of Harmonious Composition 138

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 in Modelling and Carving--Egyptian System of Relief Sculpture--Greek and Gothic Architectural Sculpture, influenced by Structural and Ornamental Feeling--Sculptural Tombs, Medals, Coins, Gems--Florentine Fifteenth-century Reliefs--Desiderio di Settignano 165

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 204

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 224

INDEX 283

The Origin of Outline f002

Silhouettes f003

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