nical influences, and it may be said that it is very much in so far
as these technical influences or conditions are acknowledged and
utilized that the work gains in artistic character.

[The Technical Influence]

The draughtsman in line who draws for surface printing, for the book or
newspaper, should be able to stand the test of the peculiar conditions;
and, so far from attempting to escape them, and seeking something more
than they will bear, should welcome them as incentives to a distinct
artistic treatment with a value and character of its own, which indeed
all the best work has. It is, for instance, important in all design
associated with type for surface printing, that there should be a
certain harmonious relation between lettering or type and printer's
ornament or picture.

[Illustration (f040): Sketches to Illustrate Effect of Different
Emphasis in the Treatment of the Same Elements in Landscape.]

[Illustration (f041a): Example of Page Treatment to Show Ornamental
Relation Between Text and Pictures.]

[Illustration (f041b): I. Textile Motive: Suggestion for a Carpet
Pattern.]

[Illustration (f041c): II. An Abstract Treatment of the Same on Point
Paper, as Detail of Brussels Carpet.]

A firm and open quality of line, with bright black and white effects,
not only has the most attractive decorative effect with type, but lends
itself to the processes of reproduction for surface printing best,
whether woodcut or one of the numerous forms of so-called automatic
photo-engraving, as well as to the conditions of the printing press.

In all design-work which has to be subjected to processes of engraving
and printing, clearness and definiteness of line is very necessary.
Designs for textile printing of all kinds, for wall-papers, especially,
require good firm drawing and definite colour planes. This does not,
however, mean hardness of effect. A design should be clear and
intelligible without being hard.

For weaving, again, definiteness in pattern designing is very necessary,
since the design must be capable of being rendered upon the severe
conditions of the point paper, by which it is only possible to produce
curves by small successive angles (which sounds like a contradiction in
terms). The size of these angles or points, of course, varies very much
in the different kinds of textile with which pattern is incorporated,
from the fine silk fabric, in which they a