UC-NRLF

77S
I

CORATIVE
DESIGN

JOSEPH CUMMINGS CHASE

WILEY T

SERIES

THE WILEY TECHNICAL

SERIES

FOR

VOCATIONAL AND INDUSTRIAL SCHOOLS

KDITKI) KV

JOSEPH M. JAMESON
GIKARD COLLEGE

THE WI LEY TECHN ICAL SERIES

EDITED BY

JOSEPH M. JAMESON
GIRARD COLLEGE

TEXTBOOKS
Decorative Design.
CHASE, Instructor
and at the Woman

IN

Textbook

DRAFTING AND DESIGN

of Practical

Methods.

By JOSEPH CUMMINCS

Decorative Design at the College of the City of New York

s Art School, Cooper Union,
vi + 73 pages, 8 by loj, 340
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Cloth, $1.50 net.
Agricultural Drafting. By CHARLES B. HOWE. M.E. 8 by rof viii+63 pages,
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Architectural Drafting. By A. B. GREENBERG, Stuyvesant Technical High

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IN PREPARATION
Engineering Drafting.
School, Brooklyn; and
University.

By CHARLES
SAMUEL

J.

For full announcement

B.

HOWE, M.E., Bushwick Evening High

BERARD,

Sheffield

Scientific

see list following index.

School,

Yale

DECORATIVE DESIGN

DECORATIVE DESIGN
A

Text-book

of

Practical

Methods

1.1-2.
BY

JOSEPH CUMMINGS CHASE

Instructor in Decorative Design at the College of the City of

Woman

and at the

Art School of Cooper Union

NEW YORK

JOHN WILEY &

LONDON

CHAPMAN

SONS,

& HALL,

1915

INC.
LIMITED

New York

NK

5/o

C-5-

Copyright, 1915,

BY

JOSEPH CUMMINGS CHASE

THE SCIENTIFIC PRESS

ROBERT DRUMMOND AND COMPANY
BROOKLYN.

N. Y.

PREFACE

THESE

notes

for

the

study

of

experience in teaching and designing.

briefly

and

directly

in

order to

The book does not attempt

to

show the

practical

design

They

are

the

result

of

are arranged to treat the subject

meet the practical requirements

to cover the subject in

working out of

many

some years

its

of

students.

larger aspects, but rather

problems.

Materials and books that the writer has found particularly serviceable are

designated in the third and fourth sections.

JOSEPH CUMMINGS CHASE.

NE\V YORK CITY
July, 1915.

333832

CONTENTS
SECTION

motives

Making use

of

landscape material for poster pro

blems.

Kinds

ment

Decorative motives

of design

Unlimited areas

lettering

Limited areas:

Simple systems of

Tangential

junction

ventionalization

Systems

Formal

conventionalized from nature

"

Rules

and

Abstract
"

or

"

Principles pertaining to orderly arrangement

pose

Color-contrast

fruit as

"

Forms

of order

Fitness to pur

Book-covers:

Lettering

Animal

life

III

The

selection of a design, materials

and treatment, book frame measurements

end-papers

Book

jackets

Title-pages

colors,

complementary

materials

and

Line-cuts,

Ben Day

colors,

treatment

Book

Book

plates

News

Advertisements:

paper, magazine, street car, bill-board.

Use

of color:

Primary

secondary colors, shades,

(advertisements)

tones, half-tones.

SECTION IV

Insects as a source of conven

as a source of conventionalized

Regents problems

Historic ornament

tints,

Photo-engraving:

II

a source of conventionalized motives:

Daffodil, rose, poinsettia, cherry

tionalized motives

forms

con

Color-harmony.

SECTION
Flowers and

informal

forms

SECTION

Balance

Symmetry

repeat

enrichment

arrange

Border, inclosed area,

"

"

Radiation

Surface

of

Bibliography.

VI

"All-over"
patterns,
surface patterns, and
are the
repeats
"

"

terms
designating the kind
of patterns used for
an unlimited area.

synonymous

UNLIMITED

AREAS

They are composed

/.

OF

Two

DIMENSIONS

of:

A. DECORATIVE MOTIVES
(FIGURES, OR UNITS)

(a) Single units,

(APPLIED, on DECORATIVE)
in the creating of

of units,

(b)

Groups

(r)

Continuous

which

growth.
for the

are used \

decorating of\

DESIGN
a.

THE BORDER

b.

INCLOSED

B. SYSTEMS OF

ARRANGEMENT

//.

OF THREE DIMENSIONS (CONSTRUCTIVE).

2.

AREA

LIMITED

AREAS

(space within
the border)

r.

LETTERING

DECORATIVE DESIGN
SECTION
There are two kinds

1.

known

sions,

as applied or decorative,

commonly

dimensions,

of design:

called

That

of

two dimen

and that

constructive.

of three

The second

to

do with the manufacture of objects involving

length,

and thickness, such as buildings, fur

and utensils of all kinds. This book treats in no

has

niture,

breadth,

of constructive design.

way

It is

3.

Designs for unlimited areas, such as wall papers,

caipets, linoleums, fabrics for upholstery,

necessitate

the use of

surface-patterns or

posed of

(a)

4.

Designs

and dress goods,

"

all-over

"

repeats

single units,

tinuous growth.

concerned entirely with

"

patterns

(also

called

These designs are com

groups of units, or (c) con

")

(/;)

(See page 10.)

for

limited

areas,

such

as

book-covers,

the study of design of two dimensions, applied or decora

title-pages, posters, advertisements, rugs, require the

This study, especially as pertaining to the enrich

ment of surfaces, adds immeasurably to our perception

sideration of (a) the border, (6) the inclosed area

tive.

of

beauty
2.

The

in form, color,

and

texture.

if

creating of patterns for the enrichment of sur

demands, first, the invention of a suitable decorative

motive (also called figure, or unit), and second, the selec

faces

tion

and

of

that

system

of

arrangement which

facilitate the use of this motive.

is

will

govern

the space surrounded

lettering

is

by the border, and

forms conventionalized
line

which

lettering,

to be included in the design.

The border may be made up

plain

(c)

con

only,

or

of

from nature.
plain

space

abstract forms or
It is frequently

between two

lines.

Additional lines of varying widths and the interlacing or

interruption of these lines at the corners or middle of the

DECORATIVE DESIGN
sides

may

in repetition or alternation

page 7)

may

Abstract block forms (see

give greater interest.

may

be used.

So also

of flower-forms are often constructed are called the

and

"

"

slightest lack of attention in the

of

is

emphasized.

not so emphasized, the design

in

of order

good design

The

Units placed

in

vertical rows.

is

the space or

panel which the border surrounds.

most

vertical

may need no
center axis may

be the backbone of a design growing to the

or the decoration

middle of the

single

may

begin

at

left

and

(6)

right,

the corners, or at the

page

30).

simplest units are often the

"

effective.

selves."

The beauty

6.

and properly placed and spaced,

refer

be depended upon to give a feeling of style to a design

even doubtful merit. Carefully planned masses of

The simple systems

to

the

of
"

making

of

The

designer

must recognize how important

it is

to use a

Units placed in
oblique rows.

all-over

"

placing units in vertical rows,

(6)

(a)

(c)

repeat

are

of

part in practical design.

"

"

They

patterns for unlimited areas.

play a very important

a sur

It is evident, then, that the

may

letters

of

stood.

placed somewhat higher than the center.

dignified

of its let

systems of creating rhythm by orderly

arrangement should be clearly under

sides,

if

(see

The

Units placed in

horizontal rows.

and develop inward toward the center.

decorative unit is frequently most effective when

Lettering,

The proportions

"Roman"

face-pattern

the inclosed area

decoration.

the

depends more upon the

rhythm of the units over the surface
than upon the form of the units them

the border decoration be important in

effect,

is

the

the result of the survival of the

5.

If

book

in

have undergone various experi

ments, but those now in general use

fittest

is lost.

used

as

effect.

ters

are

so necessary to every

inclosed area

own alphabet

alphabet.
(a)

danger of appearing confused; and the

effect

will

printing of this

If it
is

letters

Our

and compound; and the

the curve, simple or compound, used as the back
lie

The

making

mar the whole

curves, or the simple

beauty of
bone of the border-pattern, should

keeping with the

character of the rest of his design.

The curves upon which borders

conventional forms.

"

style of lettering in

placing units in

horizontal rows,

placing units in oblique rows.

(c)

DECORATIVE DESIGN
7.

The well-known experiment

paper and folding

good

illustration

All designs
all

it

of

of writing

symmetry.

is

Plant growth shows innumerable examples.

illustrations

HTS.

shown

in the

tv
Balance

Symmetry
(also balance).

is

ff T*

3 C

Symmetry

autograph with ink upon

which are symmetrical are balanced, but not

OLD

the cipher

while wet so as to repeat the exact form reversed

balanced designs are symmetrical, as

accompanying

one

(without symmetry).

of

the

Symmetry means

monogram

BHR

and

tir

likesidedness.

gives the effect of formality whether in the

Symmetry
(also balance).

facade of an example of monumental architecture or in

a tinv flower-motive.
?

Cipher showing
balance
(without symmetry).

An

interior,

showing symmetry, designed by E. Williams.

Blotted autograph illustrating symmetry.

DECORATIVE DESIGN

(b)

Radiation from a point.

view of a plant suggests horizontal

radiation about a point (d). Motives
with
(a)

Tangential junction

growth pictured above

should be,
sible,

is

clearly

The

(a).

shown

lines that

in the plant

form a junction

are

about a

particularly

Radiation from a

line.

to

adapted

the decorating of horizontal surfaces such as floors and

ceilings,

while motives with vertical radiation are adapted

to the decorating of vertical

so far as pos

in

radiation

(c)

point
8.

horizontal

Tangential junction.

tangential to each other.

surfaces.

To

There are exceptions to this

rule, but it is a safe one to

and

follow.

properly for decorating given

9.

The

a plant

vertical

growth

may show

from a point
Vertical line

(6)
(c).

of

or

plant-growth

natural

surfaces,

forms

it

is

necessary to employ a proc

or from a

top

other

spaces

radiation

The

utilize

ess
(d)

Horizontal radiation about a point.

tion.

called

conventionaliza

DKCOHATIVK DKSKJN

characteristics of a natural form,

arrangements are developed icith perspective appearance

It is called informal even though small details are
(b).

and

rejected.

10.

Conventionalization consists in keeping the general

accidents

the design

may

of

and omitting small details

growth, as the method of applying
usually includes

It

require.

Study

of this subject gives

emphasis upon the geometric basis underlying

of conventionalized

natural forms.

ability to

It

is

probable

that

conventionalization

originated in the limitations imposed

11.

formal and

(/>)

produce it.
Surface enrichment

forms and
is

informal.

of

two kinds,

ornament and more or

may

with conventionalized ornament:

by the

material used.

Conventionalization

an appreciation

(6)

less

be achieved
(a)

abstract

forms conventionalized

from

nature.

(a)

Shapes not derived from natural growth

are abstract shapes. These are obtained chiefly

Broadly speaking,

(6)

An example of informal conven

tionalization.

from geometry. The finest historic decorations

have been based upon the laws of geometry.

Forms conventionalized from nature include

not only those derived from plants and flowers and from
insects and other animal life, but also those not so generally
appreciated, derived from the curling of smoke, whirling
of water, markings of wood and stone, and the simple lines
of
(a)

Three examples

of formal conventionalization.

landscape.

All

these can be adapt

ed to decorative uses
it is

formal when purely decorative shapes and arrange

ments are developed without perspective appearance, even

though natural form and growth be taken as a guide

by the elimination
of

details,

plification,

by sim
and by
(r)

(a).

It is

informal

when purely decorative shapes and

revision.

A form convention

alized

from Nature.

(d)

An

abstract
form.

DECORATIVE DESIGN
Formal and informal conventionalizations
forms should not both appear

in the

same

flower-

of

design.

Whether

formal or informal they should plainly show that the inten

ornament, not the representation of a plant.

12. Abstract shapes, as well as forms conventionalized

tion

is

from nature, when applied to surface enrichment are gov

erned by certain forms of order. Writers upon design differ

and as to the number

as to the relative importance

"

forms,"

mental

"

or

rules."

may

Balance

is

an equalization of weight. (See page

a measured repetition of accents.
"

forms

"

of order,

is

add two

contrast, variety;

forms of

order,"

in the successful

here included.

it

is

may,

these terms.

of

commercial designs, they are

They prevent monotony and

"

Harmony

making

give strength.

a broader term than either rhythm or

harmony. The eye craves

to go, where to stop, is the

BATCHELDER.

designer."

indicates the impossibility

"

"

or

"

"

rules

forms
any one of the so-called
order from the others. The more we con

of

template any one of them the more we find that particular

form

"

number

to be involved in a

However, there are certain

of other

"

forms."

definite principles pertaining to

orderly arrangement in decorative design that, for the sake

ma} be classified as follows Repetition, alterna

contrast and variety. (See next page.)

of study,
tion,

Decorative or applied design must not detract from

the usefulness of the object to which

it

is

applied.

It

should give added use, or added beauty, or both.

In the making of designs for a specific puipose,

must consider
rated

is

unit

consists in

shunning differences too

this

carefully the use to

The

to be put.

itself excellent

one or the other, or both,

pronounced, contrasts too startling; in giving to the vari

ous elements of a design something in common. Uniform

far

assuredly not the

of entirely separating

in fact, involve
It

how

is

of

The above quotation aptly

are not always specified

but, because they are great factors

of the

problem

13.

the effect of inferior importance.

Dominance and subordination

of

will

the effect of superior importance.

is

Subordination

balance;

we

5.)

But uniformity

harmony.

most pleasing manifestation

Dominance and subordination.

Dominance

"

as perfect

"

the just adaptation of parts to one another.

is

Rhythm is
To these three

in the

be considered funda

Harmony, balance and rhythm.

Harmony

others:

Three

of the

and shape, might be defined

ity of details, tone, measure,

for wall

and

decoration

for

involves

we

does

not guarantee

cooking

call

the

is

of

good taste as a decorative

entirely in

paper,

which the thing deco

that a rose-motive

fact

we

utensil.

its

fitness

as

The forethought

consideration

of

fitness

to

purpose.

The

choice

and development

of the decorative

motive

FOUR SO-CALLED

"PRINCIPLES

OF

DESIGN"

PERTAINING TO ORDERLY ARRANGEMENT

oc
oo
oo
oo
oo
o o no o
Repetition.

Contrast.

Alternation.

Variety (with contrast).

Repetition, contrast, and variety.

DECORATIVE DESIGN

10

the

medium

however,

to be used (pencil, crayon, ink, water color, or

perately.

The nature

oil color).
is

must be subject to the limitations

of

for a given surface

to be applied,

of the material to

and the manner

must be taken into account.

"

cut-out

"

pattern, requires a

Tliree wall pat er designs

which the design

of applying the design,

For example, a

much

stencil,

or

simpler treatment in

like strong drink;

Color-contrast

is

it

must not be used intem-

particularly useful for posters,

for all advertisements in fact,

and

for covers of news-stand

books and periodicals that must compete with others in

attracting the eye of purchasers.

On

the other hand, in making designs for surfaces that

all-over patterns composed of (a) single units, (6) groups of units, (c) continuous growth,
is an example of abstract forms.
( ;)
exan.ples of forms conventionalized from nature,

by E. Williams showing;

mass-forms, more free from minutiae, than a design that

is

is

In making designs for surfaces that are intended to

and

producing an

arrangement

quiet, dignified
effect of repose

and

live-with-ableness,"

absolutely essential.

or forms

for the libraiy table rather than for the news-stand.

of the

greatest importance.

Color-contrast,

are

of the motives,

"

attract the eye as well as to appear beautiful, an under

standing of color-contrast and emphatic spotting of a form
is

(c)

are intended to be beautiful rather than striking, color-

harmony and

to be traced.

(a)

This

is

are

the case with wall-papers,

ceiling decorations, rugs, fabrics,

and book-covers intended

SECTION

II

THE SOURCES OF CONVENTIONALIZED MOTIVES

14.

Many

students tend simply to copy natural forms

without exorcising the power of invention.

imitating does not

make

successful decoration.

This

The

literal

experi

enced designer has certain calculated ways of arriving at

good motives suitable

He

is

lem

for the

working out

of

any problem.

able to adjust, to arrange, to modify, until his prob

of surface-covering or space-filling

is

fittingly solved.

This process in each problem involves a careful consider

ation

and development

natural growth.

of the peculiarities of shape

and

In the course of this consideration and

development, the designer, by simplifications and

binations, invents fresh

and individual expressions

com

of his art.

Explanations of the theory of conventionalization, even

when

illustrated

suffice to give

by many

beautiful

examples,

the student the help he needs.

seldom

Appreciation

but how the designer arrived at those motives, the student

is at a loss to know.
Consequently, although such books
are of great interest to the professional designer

and to

the advanced student, they are mystifying to the student

who

is

only beginning his design-problems.

The accompanying flower-plates, and those of insects,

animals and landscapes, show a series of steps by which
15.

the designer arrived at certain conventionalizations adapted

to various uses in decorative design.
Included are some
plates

made without

assistance

by

first-year students

who

followed the same scheme of progression.

Detailed

drawings

made

from

living

plants

and

flowers are especially valuable as a source of design motives.

But obviously

it

is

not always possible for the student,

or even for the professional designer, to get these.

Photo

ornament may be aroused; but the

more exquisite the examples shown the more helpless in

graphs from books of reference pertaining to plant and

flower growth, insect and animal life, will be found
very-

the face of their seeming intricacy the student

help ful.

of conventionalized

of

feels.

There are many excellent books on design, the most

which show a bewildering number of choice motives;

The photographs used

as the base of steps in the

accompanying flower-plates were selected from

tained flower and seed catalogues.

easily

11

ob

FLOWERS AS A SOURCE OF CONVENTIONALIZED MOTIVES (THE DAFFODIL)

Second step
First step:

Making a

careful outline drawing.

Second step:

Creating an informal ornament with shapes selected from the

first step.

12

FLOWERS AS A SOURCE OF CONVENTIONALIZED MOTIVES (TMK DAFFODIL)

Fourth step

Third step

Third step:

Making a bilateral or

"twin"

unit for an all-over pattern.

filled in,

Fourth step:

Space-filling,

producing a poster outline.

(a)

shows the second step with

its

"canals

13

FLOWERS AS A SOURCE OF CONVENTIONALIZED MOTIVES (THE ROSE)

16.

The

first

page 12) is
merely an outline drawing made from the
step

(see

The tendency

photograph.
outline sketch

is

in

to strive for an

making an
"

"

artistic

which usually results in a fuzzy

roughness. Such a sketch is of no help at
effect,

all

He must have

to the designer.

each of the

fully considered outline of

shapes
First step

contained

flower, leaf,

consideration

in

and stem.

a care

many

the

photograph of
To insure such a

by the student

it

is well,

in

the developing of conventionalized motives

from flowers and

insects, to separate

each

The
segment from the others.
outline drawing will then resemble a stencil
particle or
Second step

Notice particularly
Third step (two examples).
the contour of the inclosed background spacers.
First step:

Making a

careful outline drawing.

Second step:

Making a

Creating an informal ornament with shapes selected from the

bilateral or

"twin"

unit for an all-over pattern.

first

step.

Third step:
14

FLOWERS AS A SOURCE OF CONVENTIONALIZED MOTIVES (THE ROSE)

because of the

little

narrow

"

canals

that surround each shape and separate

from the others.

When

"

it

these canals are

used they should be kept of a consistent

width.*
17.

In the

possible to

ment by
most

second

make a

selecting

attractive

it

step,

is

then

really artistic arrange

from the
segments,

first

step the

simplifying,

adjusting, combining, but always preserv

ing the type of the flower, leaf and stem.

The second

step, then, is not necessarily

These canals, open or filled, are seldom used

in landscape, and are of little use in developing
conventionalized motives from animal forms.

Fourth step:

Space-rilling.

Title page

made by

first-year student

before criticism.

The same

title

page after criticism.

15

FLOWERS AS A SOURCE OF CONVENTIONALIZED MOTIVES (THE ROSE)

SHOWING FORMAL CONVENTIONALIZATION

tt
)

Mmm

-j

(a)

Design for hangings makes use of

the;

motive

(d).

(c) is

a trademark for the Kitson Nurseries.

16

DECORATIVE DESIGN
a

conventionalization;

the student

artistic as

The

18.
"

twin

third

is

step

but

it

must be an ornament as

is

an invention

unit.

in

"

and other

This third step

textiles.

is

a bilateral

or

"

all-over

for unlimited areas, such as wall papers,

for transferring the unit, the canals

stencil cutting.

capable of producing.

These units are used

"

17

patterns

and upholsteries

necessarily a con

Or,

if

a poster-outline

many examples from

so

the

for the

to be used, as in

is

the

Japanese,

canals

are

exactly in the position of the intended outline and need

only to be

filled

with the outline color.

This

avert

will

the disaster of obliterating any of the smaller segments

The

ventionalization.

have allowed

the

of

by the

design

fact that such a unit will

overlapping of the heavy

be repeated

outlines.

in

many

times

the pattern requires

19.

that the unit be simple

and

is

\/

well contained within

otherwise

itself;

it

step

a decoration for any

given area

.x\.

will

The fourth

circle, ellipse,

heart shape,

oval,

rec

look sprawling and un

tangle, triangle,

controlled.

kite shape, or vase form.

The contour

contained

ground spaces

withm

the

This

of back
Hose

unit

and of

Manner

leaf pattern.

in the

"

repeat

is

as important as the shapes of the units

themselves.

of the motive should be clean cut

and

firm.

by no means essential to the pro

a decorative motive, as is shown by examples of

of the canals

duction of

and

plates,

is

designs on pages 10, 20, 46, 72, but

particularly in elementary work.

it

If

be found helpful,
a stencil is to be made
will

tail-pieces,

some kinds

table mats,

Every part

The use

ings

Under

space

this

head

stencil.

come

background spaces formed by the juxtaposition of the units

"

applying a simple

called

is

filling.
of

diamond,

initial

letters,

of book-covers,

title-pages,

trade-marks,

head

book

book-rack ends, borders,

tiles.

The competent

designer

must have the

ability

to

decorate any given space-shape with properly balanced or

symmetrical design.

Backgrounds may,

of course,

be treated

in

many ways

other than by plain tones of black, or white, or color.

FLOWERS AS A SOURCE OF CONVENTIONALIZED MOTIVES (THE POINSETTIA) WORK

OF FIRST-YEAR STUDENTS

Fourth step:
(Seven examples by E. M., E. J., and J. R.)
Notice the importance of the background
shapes in the circular table-mat by E.
First step:

Making a

J.

careful outline drawing.

Second step: Creating an informal ornament with shapes selected
Making a bilateral or "twin" unit for an all-over pattern. Fourth step: Space-filling.

from the

first

step.

Third step:
18

FRUIT AS A SOURCE OF CONVENTIONALIZED MOTIVES (THE CHERRY) WORK

OF FIRST-YEAR STUDENT,

S.S.

Second step

Fourth step
(three examples)

Title-page enlarged and developed in color from the fourth step scheme.
Black and red upon gray.
First step:

Making a

careful outline drawing.

Making a

Second step:

bilateral

or

"twin"

Creating an informal ornament with shapes selected from the

unit

for

an all-over pattern.

Fourth step:

Space-filling.

first

step.

Third step:
19

DECORATIVE DESIGN

20

Backgrounds may be enriched by lines or spots, light

upon dark or dark upon light.
If the edges of the units seem too sharp against the

background
poster

color,

outline

will soften

and

of

the addition of

tone

intermediate

refine the

When

whole

there

effect.

is

too

great contrast between the

color of the unit
of the

and that

background the

in

tensity of either, of course,

may

be lessened.

simple

if

This

is

black and white

only are used.

If,

however,

the design be in colors, the

student must

know how

to

German

textile.

reduce the intensity of the

various

colors.

This

information

is

given

on pages 54, 55 and 58.

Centerpiece and doylies.

Grape

Centerpiece.

Dutch

pattern.

Chrysanthemum design

for centerpiece.

design.

Mttcrns from stock of

James McCutcheon

&

Co. showing the character of designs in use for fine linens.

Notice coutour of background spaces in doylies.

DECORATIVE DESIGN

3D MOTIVES

Threr recent wall paper designs.

Work

of first-year student, E.

M.

A SOURCE OF CONVENTIONALIZED MOTIVES

20

Backgrounds may be enriched by

upon dark or dark upon

If the

lines

4^

fi

light.

edges of the units seem too shar

2M

iMt
*

*
>*

C^"

!
First step

The
body

*L

g.

circular horder-jiattern

The corner decoration

/ makes use
e uses

of

the conventionalized

the conventionalized

as does the all-over pattern c on the next page.

Except in the case of butterflies it is understood

body

d,

that insect-

patterns will not indicate any particular species.

Centerpiece and doylies,

design.

Patterns from stock of James McCutcheon

&

Co. showin

Second step: Utilizing a selection of the shapes

incipal shapes contained in the photograph.
lecorations for table-mats, table scarfs, trays, book-rack ends, lamp shades, blotter corners, etc.
22

INSECTS AS A SOURCE OF CONVENTIONALIZED MOTIVES

Work

of

first -year

student, H. H.

All-over pattern using motive d on preceding page.

Work

of first-year student, E.

M.

ANIMAL LIFE AS A SOURCE OF CONVENTIONALIZED MOTIVES

WOKK

Japanese

artists

OF FIRST-YEAR STUDENTS

have given us many and beautiful examples of conventionalized motives derived from animal life. Ernest A. Batchelder has laid
upon this exercise and encouraged the "Play impulse" by numerous excellent animal conventionalizations.
24

stress

ANIMAL LIFE AS A SOURCE OF CONVENTIONALIZED MOTIVES

WORK

OF FIRST-YEAR STUDENTS

TREATMENT OF LANDSCAPE MATERIAL FOR POSTER PROBLEMS

First step

First step:

Making a

careful out

drawing of the shapes contained

in the photograph (from the painting

line

by W. E. Osborn).
Second step: Utilizing a selection
of the shapes acquired in the first step,
to produce designs for book covers,
catalogue

covers,

headings,

initial

letters, tail pieces, etc.

26

MAKING USE OF LANDSCAPE MATERIAL FOR POSTER PROBLEMS

First step:
Making a. careful outline drawing of the shapes
contained in the photograph.
Second step: Utilizing a selection of the shapes acquired in the
first step to produce designs for book covers, catalogue covers,
chapter headings, page headings, initial letters, tail pieces,
marks" ("The Night Before Christmas"), etc.
"re

The children
all

-were

*rnug in their
27

TREATMENT OF LANDSCAPE MATERIAL FOR POSTER PROBLEMS

First step.

There are only two steps

in the

making use

of land

scape material for poster problems.

simply of making an outline

drawing of the shapes contained in the photograph. This

The

is

first

step

consists

to insure a careful consideration of these shapes.

Any and all poster problems to which landscape material

may be adapted are second steps. In this case the prob
lems taken up are

A tailpiece,

an

initial letter,

a heading, a

design in three sections suitable for a heading or the upper

part of a screen, a

tile (stencil),

a design for stained glass.

TREATMENT OF LANDSCAPE MATERIAL FOR POSTER PROBLEMS

WoilK OK FlUST-YKAK STUDENT, E. M.

_/

x_^
^raA

First step

The

deciding upon a problem, the laying out of the

space area to be utilized, the selecting of the most inter

esting shape or shapes, the careful arrangement for the

sake of balance, the simplifying of mass forms by the

leaving out of

all

or nearly

all detail,

variety of tones to two or three

all

the restricting of the

these considerations,

and others dependent upon the particular problem

in

hand, go into the solving of a poster problem.

Ingenuity and invention play a large part in these

poster problems.

Making

a chapter heading, an initial letter,

and a

tailpiece,

from shtivps acquired

in the first step.

29

SECTION

III

LETTERING
20.

The importance

Brown

of dignified lettering in effecting the

sale of designs that require lettering, such as book

and

cata

advertisements, cannot be overestimated.

The American
bets

the

other

designer has

than

the

Roman, except

shows

this

in

alphabet

proportions of

"

Roman

use for any alpha

and modifications

"

making advertisements.

in

its

letters

its

little

accepted

and the

.V2

Page

classic form.

of

The

of experimentation

thick

and thin

lines

and

Other arrangements of the

have been often attempted, but without
use.

improvement upon the so-called classic examples.

Perhaps the most striking thing about these letters
their

The manner
is

Never shade horizontal

(b)

Always accent the

left to right,

tails,

of

Q and R;

up from

(c)

the

M.

On

the round

The

is

of

little

up-stroke produced a thin

the down-stroke a thick or shaded

line.

line,

and

lines, or flying

lines that slope

the

directly

lines,

perpendicular

Roman

of the pen,

letters,

and the

first line

of

the accents should be placed

cross-stroke finishing the free ends of

capital letters

The middle

The

"

of the circle.

supposed to be responsible for the arrangement of thick

lines.

swash

with a single exception in the case

made with an up-stroke

uniformity and

and thin

"

except those of the N, which seem originally to have been

which the Latin scholars held their pens

in

sloping, down-strokes that run

but never shade those

accent

Always

on the sides

outline."

lines.

including the

left to right,

of the letter Z.

"

typical squareness of

(a)

from

selection of lines to be

shaded or to be made thin are the outcome of centuries

upon the

use of the pen for the distribution of thin and thick lines

and

logue covers, title-pages, posters, book-plates, trade-marks,

gives us the following three rules based

monly placed
of K, and X.

is

called the

"

serif."

all lines

It gives

finish.

horizontal lines of B, E, F, and

slightly

H are

com

above center, as are the junctions

30

LETTERING
The making of the
The difficulty
students.

letter
will

structed upon the numeral

X,

much

gives

disappear

if

trouble to

the letter be con

31

Lewis F.

uniform.
tells

us that

it

was through

came the minuscule, or small

capitals only had been in use.

88S
The upper
should be

and

breadth than the lower section.

Although our alphabet

glyphics of the

is

Egyptians,

are

probably somewhat

The type
two forms,

B.C.

by the
a larger and a

offices are called

upper case are the

cule."

The lower

"

printers of the present

smaller,

upper case

"

which

and

capitals, historically

"

Arabic

"

Europe.

and the cipher

9,

numerals, so-called, were intro

lower

case."

termed the

why

is

for the

numbers

numerals which we

be

employed today

so nearly mathematically perfect

HOME

The

majus

more properly

employed.

WAY-HOME
The
more.

else to perfect lettering

of the

hand-lettering should

"

minuscule."

Charlemagne (crowned

But except

none

0,

in the printing

case are the small letters,

more than any one

to this time the

printers type
not always understood.

"

It appears that

Up

letters.

day has

Manuscript writers adopted the second

form (minuscule) because it can be more rapidly executed
and is more legible upon areas where much lettering is
the

and

when
is

in use

"

in Christian

Just

small portion of our alphabet dates from a few

hundred years

the pens of these artists

use are truly Arabic.

indebted to their character-writing.

influence that

C, L, X, V,

then that the

duced

very different from the hiero

we

"

and / were generally employed to

It was
express numbers previous to the fifteenth century.

M, D,

section of the letters B, E, K, S,

less in

emperor

New

scribes capable of develop

From

ing the art of lettering.

Alphabets Old and

this

Rome employed

the Church of

thus:

"

in his

Day

A.D. 800) did

and make

it

first

The

line is

a hand-lettered

letters arc

made very

title for

a book jacket by A. W. Rushmay be as large

close in order that they

as possible within a specified width.

The second line shows the largest letters the printer could use in the
same specified width. Notice how separated are the first three letters.

"ROMAN"

LETTERS CAPITALS, OR UPPER CASE

FREEHAND EXAMPLES

AABCDEEFG
HIJJKI^KLM

MM NNOOP

PQQQRRKSS
32

"ROMAN"

LETTERS SMALL, OR LOWER CASE

FREEHAND EXAMPLES

bbb cc dd e e e
ffff

mmmnnnooppp
qrrrssslttuuuv
www xxyyy zzz v

DECORATIVE DESIGN

34

The

hand-letterer can so arrange the spacing of his

letters as

to.

uniform in

make

his lines

more easy

to read

and more

effect.

The unyielding letters of the type-foundry very

quently come together awkwardly.

HARPERS
MAGAZINE

The

letterer

who

is

worthy

of the

name

fre

so constructs

and so places his letters as to make, as nearly as possible,

an equal distribution of space area between each two
This

letters.

reader

the

enables

eye to run smoothly

along the line

without any
except

those

intended to separate

words

interruptions

and sentences.

Some
before

of the best letterers,

"

"

inking

letters, correct

letters

their

in

the pencilled

as to proportion

and spacing with the

lettering

turned upside down.

The student must become thoroughly accustomed

proportions of the

letters of the

Roman

Lettering must be (a) legible,

to

the

alphabet.

(6) beautiful,

and

(c)

dig

nified.

The
An

unusually distinguished

title

by A. W. RUSHMORE.

"

Old English

"

is

a type of

"

black

letter,"

has gone out of use, except for infrequent decorative

where legibility is not important.

but

effects

THE SO-CALLED
The

unshaded

here shown having

alpha!

all its lines

of equal thickness,
"

Modern

Gothic."

>et

is

called

The term

"

"

Egyptian
applied to

is

it,

sometimes

although

it

re

sembles Egyptian hieroglyph

ics in

no point whatsoever.

Its proportions are those of

the

Roman

an unshaded

An

It

might be called

Roman alphabet.

advertising script.

LETTERS

OQCGS
I

Eccentric Gothic.

"GOTHIC"

Eccentric lettering

1234567890

often

in

ad

vertisements (see Chapter on

advertisments, page 49), but

DP B R
U J &

LTFE H
NZMK
VAWYX

employed

effectively

is

orv
qu
etv

peiw
Eccentric

Roman.

more or

so used,

is

cature.

Its

less cari

very eccentricity
to the effecfradds
frequently
iveness of an advertisement.

One

style of

"black

letter."

DECORATIVE DESIGN

36

J.

C. C.

and black, upon olive green.

Lettering black.

Initial of gold, vermilion,

Two

A.

W. Rushmore.

Imitation gold on

examples of book cover designs for library editions.

medium

blue.

One

impression.

BOOK-COVERS
*

A AYSTERIOUS
DISAPPEARANCE
GORDON

Cream

leaf

on green.
dark green.

Lettering

/\OLJ>IES

Two

J. C. C.

THE AftNCLIFFE
PUZZL1

Black and red on tan.

covers for detective stories.

Light blue leaf on

medium

blue.

Lettering dark blue.

BOOK-COVERS
21.

The

The de

selection of a design.

who purposes to make a book-cover

must know concerning that book two points

signer

which

will

determine

the

character

of

his

design.
1st.

sale,

Is the

The

What
first

publisher,
Title gold.

for news-stand

or for a library- edition?

2d.

Black on tan.

book intended

is

the story contained in the text?

fact can be ascertained

from the

and the second can best be learned

by reading the manuscript

of the book.

A POLAGIO V lLDBS
Gold on

rose.

Lettering black.

DECORATIVE DESIGN

38

the book

If

to be a

is

"

news-stand

seller,"

the cover-

in
design should be a striking poster-scheme, as simple

arrangement as can be devised, with lettering as evident

Color-contrast is pre
and legible as lettering can be.
ferable to color-harmony because of

his

book the

first

to be noticed

upon the

cover

is

design.
quisite

of the

common farm

No

matter

may be

how

read one chapter of the manuscript, or had he inquired

of

"

its

complicated,

stand value

"

nil.

is

the publishers, that the

story concerned guinea-pigs.

The

Winter Woods

"

snow-laden

news

cause the story concerns the

Maine

This

J.

C. C.

Black silhouette.

Imitation gold on red.

ridiculous be

woods,

romance,

the

on sea or
story

in the

of

deep

sport,

ad

their

delicate

of the valley

would be no more incon

impressions.

Covers for school-books are in a class entirely by them

selves.

may

infinitum.

experienced maker of book-covers would be willing to

begin his design until he had become thoroughly acquainted

with the contents of the book.

lilies

with

gruous.

tive story, the story of adventure

No

Two

the detec

historic

be,

be at

glance the character of the

woods, the

it

makes himself

pattern of

The

upon which

though

gest definitely to the casual

viz.

In

shape of the weeping willow,

ex

evergreen-trees.

itself,

"

he has utilized the graceful

kind of cover ought to sug

book

who sub

designer

mits a cover for

the working
if it

had he

variety might have discovered,

necessarily of simple

out of a design,
all

"

This type of

book-stand.

publishers.
"

a cover

lisher is looking for

make

stronger appeal

by the

For example, a man who created a cover for

Pigs Is
and included in his design a clearly defined pig
Pigs

The pub

to the attention.

that will

its

part of the designer will not be forgotten

Any

stupid blunder on the

Those that are

fittingly

have more

older school children

and more

for the use of very small children

may

of the pictorial, while those for

properly be treated with simple

dignified schemes.

Page 40 shows an example

of

a school-book cover for small children, ar.d also a par-

BOOK-COVERS
good type of school-book cover

ticularly

more advanced

for

"

the book

is

value and the acknowledged reputation of

the

designer

book are not wanted

but

rather

and the

real

demand

stand display and

author, then

is

sale.

THE
COMING BACK

an art school, more than

one hundred cover-designs

o/LAURENCEAVERIL

were shown, every one of

which was of the flowerpattern variety.

here,

fortunate

fessional

one about to step modestly

of

and shortly

to take a place

design

CL.ODB

for

such a book frequently con

sists

only of
of

position

upon book-cloth

distinguished

J.

C. C.

Light blue loaf on

placed in

lettering

dignified

book

medium

ment.
One

blue.

of the set.

Similar

is

cover scheme for a book of poems.

to

make
Books

carefully selected.

"

"

set

books must not suggest the contents of any one par

ticular

pro

work as designers
no

with

of the market.

When

book-cover

impression.

is

the problem of the

Flower-designs and

it

of the actual size of the

of the size of the

book

and Treat

a design for a

made

upon book-cloth

It is evident that a design for the covers of

of

many

their

22. Materials

MAURICE DRAKE

well-planned

masses

so

book-covers

demands

upon the
Edward J.

un

It is

training to meet the actual

shelves beside the best of

literature.

that

students begin

treatment

befitting the appearance of

into the library

book

2k COMING BACK

color-harmony

quiet

is

Recently, at the annual exhibition

of

The

motives

for cover-designs intended for

news-stand

the

of

effect

The

its literary

and poster-

color-contrast

used for such books, but the

of cover-designs published with flower

is

problem

different.

entirely

its

may be

patterns

astonishingly small.

for the library table, depending for its

not upon news-stand display, but upon

sale,

"

all-over

number

pupils.
If

39

it

directly
is

best

itself.

popular novel usually measure

4|x7f inches. Therefore designs for such books should be

made 4f x7f inches, unless otherwise specified.
The

"

die cutter

"

design produces the

the engraver
"

dies

"

or

who from

"

"

stamps

the original
for printing

DECORATIVE DESIGN

40

work lightened and made more

the designer would furnish, together with his
would have

the covers

accurate

if

his

"

design in color upon the book-cloth, a

black-and-white

"

drawing upon white Bristol-board, of the parts of

the design which are to be printed in the dominant color.
(ink)

This ink drawing can then be photographed directly upon

the metal, without the necessity of a tracing upon gelatine.

This
is

die,

from the ink drawing

colors as possible should

be used, because each

called the

As few

made

directly

or stamp,
"

key

plate."

color necessitates a separate photographic reproduction

PRIMER
THOMPSON-BROWN COMPANY.

and

a separate stamping, or printing.

School-book. Dark green on medium
Disc blind stamping.
green.

THE STORY OF
THE OLD WORLD

Gold-leaf measures 3f x3| inches

3|x3f
larger
is

inches

("

long

"),

although

and therefore more expensive

("

it

square

"),

or else

Dark brown on

tan.

cream

Clouds

light

leaf.

can be bought in

special sizes.

If

gold

to be used as one of the colors of the design, care should

be exercised that the area of the parts to be in gold does

not exceed the measurements of a single gold-leaf (less
| inch all around), else the expense to the publisher will

be greatly increased.
Imitation gold-leaf
practical, effective,

When
it is

BY

ELSONANDMACMULLAN
.School-book.
green.

Dark green on medium

Disc blind stamping.

is

not limited as to size and

it

i.s

and economical.

veiy light colors are used upon very dark cloth,

customary to use instead

of ink

(which would require

two or three successive printings to make it opaque) a

variety of leaves, the Oeser leaf and others, that are manu-

Lettering gold with white outline on

red-brown.
Vermilion and black
illustration pasted on.

BOOK-COVERS

41

upon which his color-scheme

will work to greatest advan

factured in very light tones.

These are applied to book-

manner

the

after

cloth

The

of

tage.

The number and maker

this

of this particular color of cloth

than
use

ought to be indicated upon

the back of the completed

upon a cover need not be

design for the convenience of

limited in area as in the case

the publisher.

gold-leaf.

material

much

is

of

cost

less

that of gold-leaf and

This material

of gold-leaf.

furnished
leaves,

is

It

most use possible

the

of

cloth

The

must be
end

this

in

usefulness

as a part of

the various

to

he

viz.:

view,

the

the

precisely cut to

the book.
case, to

its

the

selects the color of cloth

mount the

Usually
facturers

plain

it,

size

It is well, in

ing the design

showing

From

the

linen

of

any

upon

heavy card-board before plac

a most valuable asset

designer.

mounted

upon heavy card-board and

sample

colors, in

possible;

of neutral gray, or

selected with

of book-cloths,

finish, is

of

color

at

usually surrounded by a mat

the

of the color

color combination.

book

make

most

the

condition

tractive

cloth in their color-

schemes.

in

publisher

not very durable.

Clever designers

book-cloth

should be presented to the

effective

is

completed

design

upon the chosen

calcimine

like

is

in sheet form.

but

The

is

large sheets or

in

and

its

any
of

upon the
of

the

cloth.

manu

book-cloths are

willing to furnish professional

Earl Stetson Crawford.

cover for a library edition.

beautifully suggests the content of the book.

The design

designers
cloths they

with

may

whatever
need

in their

DECOEATIVE DESIGN

42

The

work.

in

accommodating

larly

this

and pupils

particular

rub

as well._

a part

is

cloth,

working

not

more assured

with

the publishers; these being green, blue,

and gray.

red, tan,

light-colored
"

or

blind

Dark-colored inks
cloths

are

of

safest.

"

stamping

is

very

and economical.

effective

Opaque

water color

upon book
upon the market

There

linen.

some
at

so-called

ten

cents

colors of

of

school

tempera

tube.

H. Schmincke

Diisseldorf,

colors

are

satisfactory.

So

also

is

dies

die cutter

("

an engraver

exercising

"),

table

book-cover

of

is

authority for

showing the cost

stamping (printing) book-covers,/and

book

diagram

frames.)

which

The German

the publisher

& Company,

signer,

Company

of

the

Mr. Edward Gorenflo, widely

as

cost in

colors

state

him

give

pleasure

known

of

and the American prepared

A. Bielenberg

23.

also for the

particularly adapted to use

a partial

to

to

choice.

of

is

wise

same book,

the

for

completeness,

the following

(tempera)

publisher

often

is

or in

finished

psychological
Design by first-year student, M. K.
Blue on light blue. Pale-blue leaf and gold.

it

"ordered,"

either

one be mindful

if

cover-design which has

show a second

salableness of book-cover de

to

submitting

completed

been

upon

of the popularity of certain colors

upon
Blank

self-evident.

is

The
signs

the

upon

directly

of

powder and

are inclined to

In this respect the Prang Co.

off.

When

ad

the

important,

the student

to

vantage

paper,

so

cobalt blue in

blue seems safest.

Since the color of the cloth should

play

the tempera colors

of

respect,

not only to professional designers but

to teachers

Some

sortment of the Prang Company.

Holliston Mills are particu

of accepted sizes

knowledge

his design
is

essential

is

to

of the

involving
the de

and should always influence

his

color-scheme.

Estimates of cost of stamping upon

are

the large as-

"Vellum"

Design by first-year student, G. A. S.

leaf and dark green on medium green.

White

(smooth) book-cloth:

BOOK-COVERS
for 100 covers using

$2.00 per 100 leaves of standard

"square"

or

.20 per 100 for

size,

$2.45 per 100

on,"

covers.

"long"

Gold-leaf

"laying

any

Oeser

color,

leaf,

33 cents per 100 covers.

or other leaf-foil, including laying on

and

stamping, $1.00 per 100 covers.

Blank stamping

of cut without ink,

stamping is 33 cents.
The designer who takes into account the foregoing
facts has a tremendous advantage over the one who

20 cents per 100

By
a

design

requires

one gold-leaf, one printing of

ink,

and one

Oeser

the

made by a

sion

stamping

upon the book-cloth when no

ink

used

is

in

the printing.

into the

book-cloth, giving

and

it

polished

what darker

.20

covers,

Stamping,
Ink stamping,

.25

these three

shown

impressions

of

per cover.

on page

If

leaf,

.33

1.00

the designer

is

wise enough

to reckon with these

tive

costs,

red.

and, by

compara
using

color of the book-cloth

the

effect

can produce a design requiring only one stamping,

the cost of printing will be much reduced and his own

ively,

For example,

the one impression

somewhat

sinks

die

Laying on,

for

impractical

color

meant the impres

ROBINSON

CRUSOE

some
This

effect.

the

in

is

or cut,

die,

ing will be:

$2.00 $3. 78 per 100

and

"

blind

The

Oeser

popularity increased.

"

blank or

cost to the publishers for print

Gold-leaf,

Cream and black on dark

leaf,

expensive

needlessly

schemes.

covers.
if

And

the one impression for 100 covers using imitation goldWhile the one impression
leaf or Oeser leaf is $1.00.

submits

Thus

one gold-leaf each costs $2.45.

for 100 covers using one ink

.25 per 100 for stamping.

Ink,

43

is

reproduction

two school-book covers

40.

It is

well

the

that

to

effects

remember
of

trans

parent water colors are not

to

be

Black on tan.

attempted,

as

cannot be reproduced

they
in

book-cover printing.

The

must be made opaque, compelling the designer

use of

flat

poster treatment.

to

colors

make

DECORATIVE DESIGN

44

Crown 8vo

12

16

18

Mo

8^4"x

Mo

Mo

6 l/ax.3 7/8

32Mo.,4%>"x3

/8

BOOK FRAME MEASUREMENTS

The

largest size frame,

fied

Crown

Sizes which vary slightly from these speci

Svo, as given above, is also known as Large 12mo among American publishers.
of the standard size next larger.
For instance, any size between 16mo and 18mo is an undt-sized 16mo.

measurements take the name

BOOK PLATES
P

rom

the fifteenth century dates the use of imprints

an engraved name
front

cover),

plate,

indicating

with the words ex

libris

tional combination for

come

to be

many

and

affixed to a

its

book

book (usually upon the

ownership.

and the name

plates;

but

made from

Heraldic designs,

of the owner,

inside

together

form the tradi

in these later times there

have

departures from the early established form.

The design may suggest the

individual tastes

and pursuits

of the

owner.
Several kinds of book plates are here shown of such a character as

students
or

A.

be called upon to

may

HER BOOK

create.

The words HIS

frequently take the place of the words

W. Rushmore.

EX

BOOK

LIBRIS.

Inverted color scheme.

A.

This book belong to

-^^-

W. Rushmore

s design.

EX LIBIUS

>

MORSE SHEPARD

ALLEN
Harold

Sichel.

Harold

Sichel.

45

DECORATIVE

46

Courtesy of Harper

&

DESIGN"

Bros.

Book end-paper by A. W. Rushmore.

the right is that of Harper & Brothers.

inside of the cover.
The other half swings free.

The imprint on

One

half of

an end-paper

is

pasted against the

BOOK JACKETS

LIFE

Betty-all-alone
By

a,

She

a bewitching, frankly self-reveal

maid from the circumscribed
life of a London suburb.
A quixotic
adventure in search of a husband
oh, she doesn t make any bones
ing

novcltzation of the most spec

successful play New

tacularly

has seen

in year*,

masterpiece of

Shorty McCABU
On The Job ...

MEG VILLARS

THOMPSON BUCHANAN

York

47

making

By SliWELI,

little

Oh, he
enough

about that hinds her in Paris. Cir

cumstances draw her very deeply into
the risque life o( Kohemta. She flutters
close about the fire and why tell

American

romance.

you the story?

She does

it

Ix-t

KORD

back on the job, sure

out your belt and laugb 10

your

li.

mi

content.

He

Imiic of huhhlitig

humor,
ray
of Knurkling good nature that
Mould tukc the gloom out of an

so fas

cinatingly well.

arclic vvinlcr h night.

search of the man, she comes

to America. Oh, you ll like her
witty
accounts of all our foibles.
Fact is
Still in

be wishing you were the man.

s another
delightful
part of her chronicle she finds him,
and he s just about all a fine fellow

you
But

ll

and there

ought to be, if he measures anywhere

near her estimate.
11.25, Net

IO.AIIDJ.CI.ODE

**,

EDWARD

N..TO.I

J.

CLOOE

PMM,,

Nc

York

-back-

flap-

CLOOC

[-Shelf back-]

front-

-flap-

BOOK JACKETS
The paper

folders that

Sometimes the design

wrap many
is

;THK MOUSE
ON THE MALL

of the

books intended for news-stand display are called jackets. They protect the book, and should help its sale.
cover itself. Frequently a jacket bears, besides the title and the author s name, much advertisOften the design
ing text.

identical with that of the

..?..]

THE HOUSE
ON THE MALI.

covers the entire length of the

wrapper. When much text is

used it is advisable to have the
masses of small letters set with
type, and the title,
author s name, and any
other display lines hand let
printers

the

tered.

48

DECORATIVE DESIGN

Title Pages.

Work

of First-year Students.

ADVERTISEMENTS
24. Worcester says advertising

The modern

(information).

Worcester

s definition will

"

"

is

giving intelligence

advertising

man

not do unless this

says that
"

"

intelligence

given in a manner that will accomplish four things:

is

(a)

attract

favorably,

attention,
(rf)

arouse

(b)

interest,

up a magazine or a

newspaper, and simply glance through

The percentage

it.

of people

it.

who

They

The

claimed.

phrase or

are

sam

read advertise-

"

big idea

"

may

by some peculiar

is

insistently pro

be conveyed by a catch-

pictorial

intended to

figure

become inseparably associated with the commodity

in the

public mind.

There are

create a desire for possession.

Millions of people every day pick

pling

impress

(r)

advertisements of the campaign, this idea

still

some advertisers who

"

run

"

"

"

pretty

picture without individuality or peculiarity in connection

with
tion

much

too
is

text,

and imagine that the

an advertisement.

They belong

combina

to a past gene

ments at

The roving eye

of

must be attracted or the advertisement

is

leisure is very,

the public

very small.

Consequently a knowledge of how to make an

advertisement as noticeable, as interesting, and as impres

wasted.

sive as possible,

The

is

of the

very greatest importance.

if

accompanied by something
The advertiser must

that specifically illustrates his points.

follow the

same

line of attack.

"big

commodity

idea"

is

is

called a

determined upon;

effective,

smallest possible
lettering

is

used,

the design.

an advertisement should have the

number
in a

of words, lettered,

manner

where hand-

to excite optical interest,

and so placed as to be truly a portion

The masses

of the lettering should

be not

of

less

considered than those of the pictorial part.

Flat decorative treatment of the picture part

is

vastly

superior to the old-fashioned detailed photographic treat

scheme, or systematic plan, for the extensive adver

tising of a

To be

perfectly legible,

public speaker has found that his information and

advice are better received

ration.

"

campaign."

and, through

Usually
all

the

ment, except

in cases

where the

detail

is

necessary to show

the features and characteristics of the thing advertised,

as parts of machinery

and samples of

fabrics.
49

DECORATIVE DESIGN

50

Simplicity

and clear

ness are of the utmost

importance. This applies

both

and

text
"

the

to

the

to

picture.

simplest

if

thing,
is

adequate,

The

the

best

thing."

Before beginning to
design an advertisement

know

the designer must

its

intended use.

Is

it

for newspaper, magazine,

street car, bill-board?

25.

Newspaper

must

advertisements

accommodate

themselves to the limitations imposed upon newspaper

photo-engraving by cheap wood-pulp paper, quick-drying

These limitations necessitate a
ink, and fast printing.
"

line-cut,"

or a very coarse screen

"

half

tone."

Blacks,

appear no darker than a

deep, dingy gray; consequently black may be used freely
Fine pen-lines should be
in the making of the design.

when printed

avoided,

as

intended or
Three posters by F. G, Cooper.

all in

in a

they
"

newspaper,

will

more heavily than

on the cut and not appear at

either

break down

the printing.

will

"

print

ADVERTISEMENTS
26.

51

Magazine adver

tisements are not subject

to limitations so narrow.

a^^Ef^^fgf-^^^f

THE

NEW YORK

EDISON
COMPANY
ALWAYS
ATYOUR

The coated paper and

finer grades of

the

supeipaper

together with better ink

permit
cuts

of

but the

half-tones.
in

not only

line-

finer screen

blacks

Solid

magazine work must

be more carefully consid

SERVICE,

ered, for, in the printing,

they

will

appear

nearly

black and not gray.

The

illustrator as well as the designer has a

magazine advertising; but the poster

designer have the greater possibilities.

in

effects

market
of

the

and bill-board advertisements require

poster treatment, broad and colorful.
Newspaper and
27. Street car

magazine advertisements will be noticed at short range;

but the street-car advertisement and the bill-board poster

must

"

28.

"

carry

effectively for a considerable distance.

Dominance

is

the most important principle

designing of an advertisement.

There

is

in

the

a main idea to

be presented, and every inch of the advertisement must

help to focus attention upon that idea.

This emphasis

The Marchbanks

Press,

14 East l}th Street,

New York

Poster by Walter \Yhituhead.

DECORATIVE DESIGN
DRY GOODS ECONOMIST FABRIC SECTION

The Really Smart Color for

1915 U WHITE and the really
authentic fabric

Do You
The Novellie.

is

ALRECO.

Stock It?

in "ALRECO"

Org.noW

Voile,

and Gabardine* are what your cutomeri mean

when

You

will

Luna
ml

they aak lor

And

"the

thai the

Fabric i are the

in line

medium weight
deurabie produced

kecr and

mot

with current fuhioo*.

"ALRECO"

field

Faahionable White M.It

Skirting*, of

COUTM, dominate

theii

everywhere.

"ALRECO"

..

the

right

A. L.

white

REID

COMPANY
Wktte

CooA

Speet a/i.1.

(4-M Whit.

Street.

New York

FOUR
women

MILLION

Pelton

wjl

&

rd

Pelton,

Five page advertisements of a very modern type.

Chicago

ADVERTISEMENTS
which we
(6)

call

dominance may be secured by

peculiarity of shape,

(r)

(a) position,

color.

much

Drollery plays an important part in

successful

advertising of inexpensive merchandise, as witness

Gold Dust Twins

"

and

The Campbell Soup

"

"

Kid,"

such

merchandise,

as

automobiles,

clothing

Of course, a designer must be versatile very versatile,

Mr. A. wishes a four-sheet poster to proclaim the
indeed.
fact that his teas are best for the public.
Mr. B. requires
a trade-mark.

but

car advertisement for pipe tobacco.

and

Advertising space

is

very expensive and must be utilized

main

the

the

to

everything

sacrificing

of

D. are waiting for a street

And Mr.

E. demands

a haberdashery advertisement which will be equally suitable

and even

for bill-board, street car, magazine, newspaper,

29.

The

domi

may

Roman

"

employ our

structing letters

an automobile concern spends $8,000.00

for one insertion of a double-page
spread
"

advertisements

limited to the

For example,

idea.

of

lettering

shrewdly, not by overcrowding, but often

nance

Messrs. 0.

for a mailing card.

furniture.

by

&

The

should be carefully avoided in the advertisements of more

costly

53

by no means

is

We

"

alphabet.

ingenuity

con

freely,

with proportions old or

new, dignified or eccentric, so long as we

make them

"

perfectly legible

and

in

advertisement containing a picture of the

keeping
with the commodity advertised. Obviously,
perfumery advertisements may have let

automobile and only

tering graceful

in the

"The

Saturday Evening

fifty

Post,"

the

words upon the

two pages.
Still

page of

vertisement for traction engines

another concern occupies the back

"

Life

"

it

manufactures and

one word, the name of the

Most advertisements
Designers are in
fertile

solidly

simply with a picture of

the automobile which

who have

and ornate, while an ad

30.

A Wanamaker

newspaper advertisement.

car.

are

demand;

not effective.

but only those

pen-line illustrations.

letters.

weighty

Whether an advertisement

n black and white Only, or in

shapes

of

the

background

is

made

color,

the

spaces

are

equally important with the shapes of the masses of

"arrive"

brains for the creation of advertisements

by other means than weak

constructed,

calls for

ters

and the shapes

31.

The

let

of the picture parts.

use of one additional color over two colors,

obviously increases the cost of the printing-press work

DECORATIVE DESIGN

54
fifty

per cent, and increases the cost of plates from

per cent to one hundred and

fifty

the kind of photo-engraving.

who can produce

the most

the use of the fewest colors

The use
attention,

of color

and

is

is

fifty

per cent, depending upon

It is

evident then, that he

green being the combination of blue and yellow.

green:

The complementary

color

of

yellow

is

being the combination of red and blue.

effective advertisement with

refer to this color as violet.)

the designer most in demand.

mary

colors a portion of its

By

purple:

purple

(Color scientists

adding to one of the pri

complementary

color, the pri-

the easiest means of attracting

in posters the designer

has a wonderful oppor

tunity to exercise his cleverness and inventive faculty.

But to avoid offending the

know

sensibilities of the public

the peculiar effects produced

he must

certain colors

by

and

combinations of color.

There are three primary colors:

These are

and

red, yellow,

blue.

primary because

called

they cannot be produced by the

mixture of any other colors, and
because we produce the other
colors

by various combinations

of these three.

The complementary
each

of

colors

is

these

Thus the comple

mentary color
colors,

Book

poster.

yellow,

Three

blue and

Two printings
Ben Day tones.
jsrcen.

with

orange being

of blue

plementaiy

is

orange

the combination

Q f recj ancl yellow.

color

A.

W. R.

Eccentric Lettering.

primary

the combination of the

other two.

J.c.c.

three

color of

The COmof

red

is

mary color becomes grayed. Thus by adding orange to blue

we acquire a blue which is more or less gray according as
we have added much
hand,

we add blue

if

more or
little of

less gray,

the blue.

or

the orange.

little of

to orange

we

according as

On

the other

get an orange which

is

we have added much or

ADVERTISEMENTS
So

in

an advertisement

seems too violent

if

55

Yellow

red

It is estimated to

its

complement,
which is green, when mixed with
it will subdue the intensity of
its

or

times

little of

It is

we add much

power,
Heavy-face

Roman

ant

a catalogue.

the green.

a design by just a

the red added to

cially

red and yellow are the colors

bit

when somewhat

Red

little

For example,
chosen for a design but are too sharp a contrast, just a
if

mixing.

in

of
is

"

jump

is

at

aggressive,
you."

background

color,

arousing,

particularly import

Consequently,

exciting.
it

It

is

It

seems to

seldom used as a

is

and when spread upon large areas

it

has a particularly irritating

the

effect.

in

For small surfaces

a design,

red

is

very

and wonderfully
attractive to most people.

about a greater
because

cam-ing

great

lessened in intensity.

yellow added to the red

refinement

purple.

advertisements.

yellow and just a bit of the

will bring

its

as

excellent for backgrounds, espe

well to remember that a feeling of color-harmony

can be easily given to the colors of

of

letters for

it

be ten or twelve

luminous

as

Because

redness to a greater or less

degree according as

the lightest color.

is

valuable

the

mixing process makes them

When

blood relations.

gives increased commercial

The

three

colors are none other than

inent

poster advertisement for automobile

clared that he

tires.

already been mentioned as

complementary to the three primary colors. They are,

The spectrum shows them
then, green, orange and purple.
appearing between the three primary colors, they being
the combinations of each two adjacent primary colors.

designer

it

A prom

value to a design.

secondary

the three colors which have

used discreetly,

has

"would

de
never

think of making a magazine

cover without using red.

public like

it.

red becomes less

Both the publisher and the buying

When

used in juxtaposition to black tones,

Like black and
aggressive and sensational.

purple, red has a tendency to

make a surface appear

smaller

POSTERS.

THE WORK OF FIRST-YEAR STUDENTS.

AI
MFORTS

M. H.

S. F.

T>laek

background, hair and

lips light yellow, label

on bottle

red.

E.

M.

Yellow

anil

Blue, yellow and green

brown.
56

POSTERS.

THE WOUK OF FIKST-YEAU STUDENTS.

.FOOTWEAR

DDwoDU

lILOffsiONS

IQQ^^D^B

mm

rAL

FiiRioY

Brown and yellow on

J. S.

E.

J.

White and yellow on brown.

orange.

E.M. Yellow background and stripes, shoes dark

brown with yellow highlights, small lettering black,
large lettering white.

C. B.

White and red

lettering on black.
Scenery in tones of blue.

E.

M.

Brown background, white

G. A.

Black and red on light yellow.

S.

lettering.

HANAN
SHOLS

A NINE ROOM HOUSE-ALL IMPROVEMENTS -ATA BARGAIN

LOT SIZE SOXIOO- tSq PELHAMMIE

AVLPOHAM MANOR. NY

FOR PARTICULARS INQUIRE OF

E. K.

Yellow ground, rose color

dress, black furs.

V. P.

Green background.

F J.SORRIES.

17

G. A.

S.

EUCLID PLACE.

NEW ROCHELLE.N.Y.

Yellow, green, and white.

57

DECORATIVE DESIGN

58

in the mixture.

Being lowest

in the color scale it

be used to suggest mystery and depth.

32. When black is added to a color,

it

may

produces darker

tones of that color, which are called the shades of that

color.

Mb

When

ELECTRICAL EXPOSITION
AM

T0 Jl

added to a

color, or

when that
it

color is

produces

lighter tones of that color which are called tints.

33.

is

thinned by the addition of water or turpentine,

""MOTOR SHOW OF IQlf

GRAND CENTRAL PALACE OCT 6 TO 16
1 1

white

As

to

materials

and treatment

for

newspaper

advertisements, use black waterproof India-ink upon a

Orange, being a combination of yellow and red, com

It
bines the characteristics of both in a modified degree.
is

the glad color, possessing the light of yellow and the

can be used more freely than red.

the color nearest to gray in effect of formal

sprightliness of red.

Blue

is

It

When

refinement and coolness.

red

or orange

is

white background in a manner capable of being reproduced

by the

line-cut process (see

page

65).

If

be desired in addition to black and white,

"

Day

medium tone
a coarse
Ben

"

tone should be used whenever possible rather than

a tone of wash,

(see

page

66).

being

used, the addition of blue will cool the effect of their heat.

This

result, of course,

gray.

may

also

be obtained by the use of

Blue has a tendency to make a surface appear

larger.

Green

is

the

summer

color;

the light of yellow

It is therefore restful

bined with the coolness of blue.

and

com

TMfe

ELECTRICAL EXPOSITION

Purple, the combination of red and blue,

is

the darkest

MOTOR SHOW

OF TO \6
GRAND CENTRAL PALACE OCT 61015A M T0 P M

ANO
refreshing.

1 1

1 1

color, the color of

effect

shadows, and

is

poignant or refined in

depending upon whether red or blue predominates

Poster

by

F. G. Cooper.

Two

treatments for newspaper printing.

ADVERTISEMENTS
No.

Gillot

303

is

lettering

good
and

general pen-and-ink work.

The

small

for

pen

59

blacks

be

will

of

deeper

tone.

and

Wash-drawings

paint

crow-quill pens are flexible, but

ings intended for half-tone re

break easily and are inclined

For laying on solid
to spatter.

production should be strong in

tones of black, brushes are indi

because delicate differences of

India-ink has long been

popu

seems

which

an ink

light

and

dark,

Blacks be

engraving process.

come

The Prang Company has

lar.

of

tone will be lost in the photo

waterproof

Higgins

spensable.

contrasts

also

thicker

slightly

become

grayed and whites

slightly grayed;

so

and possesses a very deep qual

that over-accenting in the orig

ity of black.

inal

For

not

ments,
but

wash

"

"

for

only pen-and-ink

drawings are used.

is

make

to

never

black

tones

but

satisfactory.

water-color

wash

of

be

used upon

a Bristol-board or

illustrator s

board of a surface

slightly rough.

Red added

to

black ink in a drawing inten

sifies

the

half-tone

black

so

that

reproduction

in

the

FOLK-SONGS

colors in

DkNCLL_

oil

their

training.

Lamp

should

street-car

posters,

Thinning out water-proof Indiaink

is

essential.

For colored advertisements

advertise

magazine

drawing

and bill-board

colors are excellent,

use

requires a long

The opaque watertubes (tempera) men

tioned on page 43,

cularly useful

and they require

no special training.
Three printings
with Ben Day tones. Yellow, blue and red.
Key
Horizontal band at bottom for "sniping"
plate, blue.

J.C.C. Poster

on

of date.

cards.

for

window-card display.

There are no standard

sizes for

window-

The cus

soft water-color

tomary
are

are parti

not

tempera.

suitable

The

for

applying

stiffer oil

are the right thing.

brushes

brushes

DECORATIVE DESIGN

60

Book poster by Robert 3. Wildhack. Three colors, using both solid and Ben Day tones. The half-tone is a reproduction of the finished printed poster.
The outline drawing is not a pen-and-ink drawing, in the ordinary sense, but an ink outline indicating to the photo-engraver the outlines of masses. From
this outline drawing the three plates were made, the Ben Day tones being applied by the photo-engraver, following the color scheme of a water color
painting which accompanied the outline drawing.

(See

"Ben

Day

tones"

on

p. 66.)

POSTERS

6 RVE,
J.

red

C. C.
oils,

DE,

61

LA- PAIX^

Poster for a French furrier.

requiring two half-tone plates.

Original in black

Two

printings.

and

Magazine cover with poster treatment

yellow, blue, black, requiring four cuts with

by E. Deane. Four colors, red,

Ben Day tones. Four printings.

62

DECOKATIVE DESIGN

twenty-four

"sheet"

by Louis Fancher.

poster

Painted

in

tempera,

The

following

reproduced by lithography.

Large posters are printed in sections called

approximately standard

sizes are

"

sheets."

28in.X 42

in.

6 sheet 84 in.X 84
12 sheet 112 in.X126

in.

sheet

in.

3 sheet 42 in.X 84 in.

8 sheet 84in.XH2in.
24 sheet 112 in.X252 in.

by G. W. Harting. When street-car posters are to be

reproduced by lithography, it is best for the designer to make his original
the exact size of the intended reproduction.
The regulation size is

Street-car poster

11

in.X21

in.

POSTERS

63

THE NATIO

Courtesy of Collier

s.

Two posters by Edward Penfield. Two printings, orange and black.

These reproductions show only the black printing. The original drawing
was in ink, with Ben Day tones suggested by number. Combinations of
orange and black Ben

Day

tones produced

brown

tones.

DECORATIVE DESIGN

64

WEST INDIE

PHOTO-ENGRAVING

WINTE

34.

The term

engraving"

"Photo

indicates the

by which, from

process

the original drawing or

design, a

an

"

cut,"

engraved

made

that

plate,

for printing

drawings

mediums upon

or

photo

are required to

demands

made with

of

different

and combinations
essential

the

he business

monogram

%$

H ows

plus

(r)

pages

varying

Half-tone

ex

(see

10, 20, 23, .%, 47,

64), 15 cents per square

An

inch.
(rf)

Combination half-tone and

and

for

approximate

the

for line-cut, plus slight expense for

(e)

two

designer

(/)

to

expense of the
It is

Duograph

colors,

of them.

various kinds of photo-engraving.

r

65,

Austrian poster.

line-cut, 15

square inch for half-tone, plus 7 cents

engraving consists rather of line-cuts

know

fabrics"],

67), 7 cents per square

pense of Ben Day.

the

Day

["Alrcco

Lithography and hand engraving upon wood and metal

Photo
are not included in so-called photo-engraving.

is

Ben

is

different surfaces.

It

of

that drawing or design.

designs

half-tones

addition

inch,

meet
reproducing

Line-cut, with the

graphic reproductions of

in cost,

an American concern.

(6)

tones (see pages 26, 52

engraving,varying widely
type of poster produced by

per square

inch.

is

Different kinds of photo-

A German

70), 7 cents

for printing

(a)

Line-cut (see pages

6,

45, 46, 54,

any

50 cents per square inch.

Three color

three

half-tone

plates

for printing three colors, usually red, yellow

and

blue, $1 .25 per square inch.

(g)

Quadro

color

four half-tone plates

and any other

of E. J.

Clode, publisher.

square inch

making combination.

two half-tone plates

for printing red, yellow, blue

per

cents per

color (usually black), $1.50 per square inch.

QUALITY WITH
JAROE ounur

A monogram
trade-mark.

PHOTO-ENGRAVING
35. In the

placed in front of a camera and photographed.

size of the reproduction is determined by the distance

drawing

The
to

photo-engravings, the

of line-cut

making

is

which the camera

the focus of the lens.

removed from the drawing, and by

is

the ground-glass

Upon

"

"finder

the camera are linear measurements, horizontal and ver

tical,

which enable the photographer to determine the

desired distance.

The negative

is

The

developed.

film

is

stripped from the camera-plate and placed reversed upon

plate glass which

is

are thus eaten or etched away, while the parts that were

covered by the whites of the negative are

It is

The metal

printing.

high

and the

of

this

after

zinc

the

When

or

copper

manner

this is

of a

tracery or faint etching of the

picture

should be

treated

with

propor

to

is

for

be,

if

the

example,

be

original drawing.

Ordinarily, drawings

to be reproduced

by

made

film s

this

process are

of a size one-quarter to four times

greater than the linear measurements of

the cut and always in the

of

same

relative

proportions as those of the intended cut.

After a proper time-exposure, the metal

"

is

"

developed

use of acids which, eating upon the surface of the

metal, develop the delicate etching into a deeper one.

parts that were covered

and designs

drawing, the lines of the cut will

the negative.

by the

All drawings

one-half the thickness of those of the

lamp,"

by the blacks

type

one-half the linear measurements of a

upon the metal, except upon

those parts covered

"

it

in the original, for in the repro

reproduction

"

making

make

to

tionately heavier lines, because,

surface

camera-plate.

film-negative,

mounted

then ready for the printer.

is

size

the light acts upon the metal surface

through the

is

that are to be reproduced in a smaller

exposed to the powerful

rays of a special arc light or

cut

plate

"

duction they will appear black.

sensitised

is

"

mediate tones are possible

frame against a zinc or copper plate,

The

unaffected.

Drawings and designs to be reproduced by the line-cut

No inter
process must be made of black and white only.

then locked in a

to insure close contact.

left

the latter parts that receive the ink and show in the

"

of

65

by the blacks

The

of the film-negative

This

is

the cheapest of the photo-engraving processes.

It is also the best fitted for printing

upon coarse paper.

There are manufactured mechanical

great variety

by the use

of

which tone

stencil patterns of

effects

may

be given

DECORATIVE DESIGN

66

Foremost among these mechan

devices are the Ben Day tones, so called from the

to surfaces of line-cuts.
ical

inventor

indicates

The draughtsman upon his drawing

by number the particular Ben Day tone he
name.

This often gives to the original drawing a droll appearance,

but vastly helps the engraver to carry out the real idea
of the artist.
in

Blue

is

the only color that will not

the photographing under ordinary conditions;

use for

wishes applied to a certain

its

surface area of the reproduc

indication.

The

tion.

the

indicated

ti

by

the

original

more

but
metal

itself

placed

the

before the

acid

Work

of first-year student,

G. A.

S.

the

Ben Day

stencil-tones closely imitate

half-tone screens, while others give various effects of texture

and

material.

If

the application

of

Ben Day tones

complicated in the case of a particular drawing,

for the

it is

is

well

fine

upon the
screens

wash
in

those

with

When

stencil

patterns

indicating

by

so ruled

that

to

result

the

crossing of their very

surface of the photograph

photographed

together with the drawing.

by the

appli

produced on the film and there

from upon the metal are vari

ously

affected

by the

some being etched

acids,

away more

completely than others.

the

number.

angles

are

cation of acids, the tiny squares

of cobalt blue water-color

addition to

two screens

the surface of the metal is being etched

"

parts

there

film is divided into tiny squares because these

are

upon that drawing the precise

Ben Dayed by
parts to be
covering

As a

lines.

draughtsman to indicate
"

is

gether they form tiny squares

by the
of

the most part,

at opposite

etching.

Many

reproduc-

camera, however,

drawing

upon

often

hence

In front of the film in the

pattern to the

section indicated usually not

upon

"

identical with that of line-cuts.

number, applies that parti

cular stencil

take

purpose of

this

Half-tone

36.

engraver, following

directions

"

page-heading for a catalogue.

difference

depends

upon

This
the

PHOTO-ENGRAVING
amount

of light that penetrated the

film

Coarse wood-pulp paper and thickened quick-drying

at each indi

vidual square while the metal with film against

it

was

67

ink

used

by newspapers, require the coarsest

Better paper stock and better ink permit of the finer

exposed to the rays of the heretofore mentioned arc-light.

The squares that are least etched away receive the most

The

ink and print the darkest.

hundred and seventy-five

These

half-tone screens are of different degrees of fine

ness, ranging

The

from sixty

lines per linear inch to

finer the screen the greater the

amount

two hundred.
of detail

and

half-tones in this

With the

one

sixty

squares are plainly vis

inch screens the delicacy of detail reproduced approaches

nearly that of the original drawing.

Jlii

lines to the inch.

of

whereas with the one hundred and seventy-five to the

much more

varying tones possible of reproduction.

screens.

book are made with screens

lines to the inch screens the little

ible,

screens.

change of address announcement by Stacy H. Wood.

SECTION IV

PROBLEMS
and because

These problems in decorative design have been propounded

by the Board of Regents of the State of New York in their ex

brace,

aminations.

others.

The

list

comprises

all

that have been used by

practically

all

the

them

problems

in

in the past

decorative

and

the types of problems that are likely to be used

under the present systems of teaching.

The list is here given because it shows the wide range of
subjects that the study of decorative design

is

expected to

em

upon which

may

The accompanying miniature

unit (Id).
a conventional unit of

(686), (b)

morning-glory,

(c)

7.

Show

the steps in the development of

a surface (all-over) pattern from a plant form (steps
on page 12 and patterns on page 4).

appro

PROBLEMS OF HOME DECORATIONS AND

FURNISHINGS
8.

9.

Surface (all-over) pattern for printed

cotton goods (236).
Surface (all-over) pattern, using
butterfly motive (23 a, 6).

10.

Border of

12.

Window

(a) animals (25), (6) fish

(24), (c) insects (22/).
11. Wall paper border, stencil pattern

butter

cup.

suggest

in the book.

(bottom of pages 9 and

(a) tulip

illustrations

priate solutions of a few problems not provided for elsewhere

"

Make

students

the problem.

(l>)

6.

prevent

after a problem indicate the page

be found a design of a character called for in

1.

"

may

The numerals printed

THEORY OF DESIGN PROBLEMS

State and illustrate three fundamental principles of design
(page 8).
2. Define
fitness to purpose
(10).
3. Define (a) balance (8), (b) rhythm (8), (c) symmetry (5),
(d) radiation (6).
4. Define and -illustrate (a) constructive design,
decora
tive design (3).
(Accompanying cut of book rack illus
trates both a and b.)
5. Give an example of a geometric radial

consideration

from pursuing a few types of problems to the exclusion of the

design

several years,

its

curtain

18).
stencil

border,

pattern (16a).
(a) flower motive
(6)
(7c),
landscape nu\,ive (28), (c) monogram motive,
metric motive (Id).
Book rack end, flower motive (68n).

13. Tile

all

14.

(d)

geo

PROBLEMS

69

Design a square tile with lotus motive (70).

Within a circle compose design using some historic
motive (70).

Flower motive for carved wood, (a panel, (b)

corner of picture frame (69c).
for
cross-stitch
1(5. Design
embroidery, flower
motive (69(f).
17. Design for leather top of footstool (69e).
18. Panel in three sections, landscape (28).
19. Design for stained glass window, landscape (28).
20. Bowl, border design using rectangular
forms (G9/).
21. Vase for (a) long stemmed flowers
(b) short-stemmed flowers
22. Border of butterfly or insect motive for

33.

mat

39.

Note book for History (40).

Cover for school refwrt.
Program cover.
Page border with initial letter.

40.

Book

15.

34.

BOOK DESIGN PROBLEMS

35.

(22/), (b) plate,

metal tray.
23. Border of
flower motive
for
tray
of pierced metal (69w).
24. Design for plaid.
25. Table
runner (table throw) (table

36.
37.

plate, (a)
(45).

"

monogram motive

(45),

41. Initial letter, landscape motive (29).

42. Heading (headpiece), panel in three
scarf)

page 49)

(see

38.

"

(b)

any

motive

stencil pattern.

ADVERTISING PROBLEMS

"

(42, 48).

((>9/i).

(c)

for () "Emerson s Essays" (36),

book on the Civil War (40), (c)
Nature
"

(6)

((>9y).

(a) leather table

Book-cover

26. Posters for tennis

match, hockey game, cross

country run, ball game, flag day, school ex
hibition of drawings,
Jepson s Teas,"
John Brown and Co., dealers in trunks."
"

sections,

landscape motive (28).

43. Tailpiece, landscape motive (29).
44. Heading for () dramatic section of school paper,
(b) athletic section.
45. Tailpiece for some section of school paper.
46. Monogram within circle, square, hexagon
kite form.

or

"

27.

Advertisement for

"

New

in

Shapes

28.

Label for canned peaches or other

29.

Page border with

30.

Own name lettered

Roman letters (32).

fruit

(conven

tionalized).

31. Lettered sign

HISTORIC

"

initial letter for

To

let,

within

PERSONAL BELONGINGS PROBLEMS

Ruby Pot

tery."

advertisement.

rectangle

using

47. Scarf pin.

48. Watch fob, monogram (69fc).
49. Hat pin (pierced metal).
50. School pin (pierced metal).
51. Belt

buckle,

(a)

apply

within."

ORNAMENT PROBLEMS

52.

Napkin

53. Blotter

Draw

(69A-),

(b)

ring.

corner, animal or insect motive

(22e).

32.

monogram

motive.

(a) an Egyptian lotus (70), (b)

Greek anthemion (70), (c) fleur-de-lis

55.

Paper knife
Pendant

(69?).

56.

Escutcheon.

54.

(69;).

(69>n).

flower

T1

ul

HISTORIC

70

ORNAMENT

EGYPTIAN

Rosette,

Border, lotus motive.

Border, lotus motive.

Rosette,
lotus motive.

Lotus motive.
Scarabeus.

GREEK

Border, anthemion motive.

Egg and

dart pattern.

Acanthus.

Anthemion.

ROMAN
SARACENIC

GOTHIC

When

certain styles of

Border.

Crocket.

Scroll.

ornament have become

identified with the architecture

historic styles are Egyptian, Greek,

and general

Roman, Byzantine,

art of a race or nation

they are called

Gothic, Saracenic, and Renascence.

historic.

Some

of the

BIBLIOGRAPHY OF HELPFUL BOOKS

Design in Theory and Practice

Ernest A. Batchelder

Macmillan

Principles of Design

Ernest A. Batchelder

Inland Printer Co.

Modern

G.

Practical Design

W. Rhead

Chas. Scribner

Sons

200 Units of Design (plates)

Henry Warren Poor

Henry W. Poor

Lessons in Decorative Design

Frank G. Jackson

Chas. Scribner

Sons

Chas. Scribner

Sons

Form and Design

Handbook of Plant-form

Plant

A. E. V. Lilley and

Ernest E. Clark

Derivation of Ornament from Plant-form

W. M. Midgley

John Lane

A. Meurer

Deiiman Ross

Houghton, Mifflin

Classroom Practice in Design

James Parton Haney

Manual Arts Press

Anatomy of Pattern
Handbook of Ornament

Lewis F.

Chas. Scribner

Theory

of

Pure Design

F. S.

Ornament

Day

The Bruno

Meyer

&

Co.

Sons

Hessling Co.

Alex Spelt z

The Bruno Hessling Co.

R. Glazier

Chas. Scribner

Lettering

Thomas Wood Stevens

The Prang Co.

Letters and Lettering

Frank Chouteau Brown

Bates and Guild

Freehand Lettering

Victor T. Wilson

John Wiley

Lewis F.

Chas. Scribner

Styles of

Manual

of Historic

Alphabets Old and

Ornament

New

Monograms and Ciphers

Principles of Advertising

Das Plakat

(a

Arrangement

Day

&

The Prang Co.

Frank Alvah Parsons

The Prang Co.

of advertisements)

Brentano

Sons

Sons

A. A. Turbayne

monthly publication devoted to posters and other forms

Sons

71

DECORATIVE DESIGN

72..

An

interesting textile design

Motives derived from French 18th century

by E. Williams.

textiles in the

Cooper Union Museum.

INDEX
PAOE

Abstract forms

49
25

Advertisements

Animal motives

Balance

Ben Day tones

66

Bibliography
Bird motives

24
36
46
44
47
45
20

Book end-paper
Book frame measurements
Book jackets
Book plates
Centerpieces and doylies

Chart

Cherry motives
Color as used in advertisements
Conventionalization

64

24

Forms conventionalized from nature

51
<>0

Deane
Edward Penfield

61

E.

J.

C.

63

61

Students work

Radiation

68

letters

14

Rose motives
"

Rules

"

or

"

forms
"

"

"

repeat
Simple systems of
Sources of conventionalized motives

70

Tangential junction
Textile design by E. Williams

22

Textile (German)

Kinds

Lettering

of design

Landscape material

for poster

problems

17

Surface enrichment

Historic ornament

Insect motives

1 1

Stencil (rose pattern)

Half-tones

letters

of order

35
06

Gothic

56-59
8-9

Principles of orderly arrangement

Roman

50-51

F. G. Cooper
Walter Whitehead
Robert J. Wildhack

Regents Problems

3
"

18

Posters:

19

12

Decorative motives
Fitness to purpose
Fish motives

Photo-engraving
Poinsettia motives

54
7

Daffodil motives
"

65

71

Book-covers

Limited areas
Line-cuts

Symmetry

26

Title-pages
Unlimited areas

30

Wall paper designs

72
20

73

ii r:

KY TECHIVIOAL.

JOSEPH M. JAMESON

KniTi.n BY

series of carefully adapted texts for use in technical vocational and industrial schools.
The subjects treated will include Applied Science;
Chemistry; Hlectricity; Electrical Power and Machinery; Applied Mechanics; Drafting and Design
Steam; Gas Engines;

Applied Mathematics

The following

texts are

added rapidly:

The

announced;

others are

being

.1

Wtremen

Textbook for

and the Electrical Trades. By W. H. Timbie. Wentwurth Institute. Flexible covers, pocket size, xiii-f-27i
Cloth, $1.25 net.
pages, 5 by 8, 224 figures.
The Elements of Electricity: For Technical Students.
By W. H. Timbie. Head of Department of Applied

Wentworth Institute. xi+55& pages, 5^

Science,
by 8, 415 figures. Cloth, 2.00 net.
Continuous and Alternating Current Machinery. By
Professor J. H. Morecroft, Columbia University. ix+46

of

by 8, 288 figures. Cloth, $1.75 net.

Electric Lighting.
By H. H. Higbie, Professor

Household Science,

etc.

Market Gardening, Massachusetts

vi

4-120 pages, 5 by

By

Agricultural Chemistry.

7.

T.

Professor

36 figures.
E.

Keitt,

Clem sin Agricultural College. (In preparation.)

Injurious Insects. By Dean E. D. Sanderson and Pro
fessor L. M. Peairs, West Virginia University.
(In
preparation.)

Agricultural Drafting.
x

+63

pages, 8 by

10*4",

MANUALS

FIELD

Charles B. Howe.
M.E.
45 figures, 26 plates. $1.25 net.

By

IN

AGRICULTURE

pages, 5

trical

Agriculture;

Agricultural College,
Cloth, 75 cents net.

ELECTRICITY

Essentials of Electricity:

Formerly Professor

Engineering, University of Michigan.

of Elec
(In prep

aration.)

Introduction to Industrial Electricity. By W. H. Tim

bie, Head of Department of Applied Science, Wentworth
Institute.

(In preparation.)

HEAT AND HEAT ENGINEERING

Textbook for Technical and Industrial Students.
A. Randall, Instructor in Mechanics and Heac,
Pratt Institute. xiv+33i pages, 5^4 by 8, 80 figures.
Cloth, $1.50 net.
Gas Power. By Profess9r C. F. Hirshfeld, Cornell Uni
versity, and T. C. Ulbricht, formerly Cornell University,
viii +198 pages, 5 4 by 8, 60 figures.
Cloth, $1.25 net.
Steam Power. By Professor C. F. Hirshfeld, Cornell Uni
versity, and T. C. Ulbricht, formerly Cornell University.
(In preparation.)
Heat and Light in the Household. By W. G. Whit
man, State Normal School, Salem, Mass. (In Prep

Heat:

By

.A

J.

aration.)

MECHANICS

Elementary Practical Mechanics.

By J. M. Jameson,
College;
Formerly Head of
Department of Physics, Pratt Institute. xii+32i pages,
Cloth, $1.50 net.
5 \\ by 8, 212 figures.
Mechanics for Machinists. By R. W. Burnham, Eras
mus Hall High School, Brooklyn, Instructor in Evening
Machine Work, Pratt Institute. (In preparation.)
Girard

Vice- President,

MATHEMATICS
Practical Mathematics. By C. R. Dooley, Westinghouse
Electric and Manufacturing Company, Pittsburgh, Pa.
(In

fire partition.)

A Shop Mathematics
ham, Instructor
Evening School,
Cloth, 91.35

Practical

for Machinists.

By

R.

W. Burn-

Machine Work, Pratt Institute

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Decorative Design: .1 Textbook of Practical Methods. By
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Agricultural Drafting.
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