he
Photograph--The Value of Emphasis--The Technical Influence--The
Artistic Purpose--Influence of Material and Tools--Brushwork--
Charcoal--Pencil--Pen 51

CHAPTER IV

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

CHAPTER V

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

CHAPTER VI

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

CHAPTER VII

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

CHAPTER VIII

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 20