A, B, C, D, E, F
Several Ways of Decorating a Square Space.
On pages69,70, and71you learned how to draw and divide certain shapes. You saw that by slightly changing the direction of construction lines, decorative designs could be made. Construction lines are lines used in drawing and dividing a shape. They may or may not be retained, after the design is finished. In Sketch A on this page the four sides of the square and the horizontal diameter may be taken as construction lines. By following these lines with a narrow pathway and slightly changing the direction of parts of them, designs can be made in great variety.
In Sketch B diameters are drawn and in the center is a small square on its diagonals. Little pathways lead from the sides of the square to the center, resulting in a four-sided decoration. In Sketch C diagonals are drawn and pathways sent along them to the center. Sketches D, E, and F are like A, B, and C, except that curved lines have been used instead of straight lines.
Draw six four-inch squares. Copy the construction lines and their modifications as shown in the six sketches on this page. Finish each design and strengthen the lines which will bring out the decoration.
A, B, C, D
Decorating an Oblong Shape.
The oblong is a favorite shape for book-covers, envelopes, card-cases, portfolios, and other articles that can be made in the school-room. Hundreds of objects about you in school and at home are also based, in their proportions, on the oblong. Think of the books, boxes, rugs, doors, and windows, that you constantly see. They are nearly always shaped like an oblong. You will be interested to know some of the ways in which decorations for these objects are planned. In a rug or a book-cover, for instance, we often wish a design similar to that shown in Sketch A. In planning for this, a smaller oblong was drawn within the larger one. The lines of the smaller one were used as construction lines, and these were modified in the same way as were the construction lines of the square onpage 87.
In Sketch D, the diameters of the oblong were drawn and the semi-diameters bisected. Then these points were connected. In both Sketch A and Sketch D, all construction lines not used in the design were erased.
Draw two oblongs not less than eight inches high, and wide enough to make a panel of pleasing proportions. Plan and draw designs similar to, but not exactly like, those shown in Sketches A and D.
How to Use Shapes from Nature in Design.If all our designs were like those which can be made by following the construction lines of certain definite shapes, we would very likely grow tired of seeing so much decoration of that kind. We may get many ideas of beautiful lines and shapes from a plant or a flower, and we may use these ideas in making designs, as the drawings on this page and the next will show.Look at the sketch of the marsh-marigold, and then at the small drawings at the right. A is a petal, B is a stamen, C is a side view of the flower, showing three petals and a stem, D is a leaf, and E a bud and stem. In these sketches the lines are even, the shapes are regular, and all "accidents of growth" are omitted. Sometimes the shapes were drawn larger than their true size, and sometimes the parts were separated, as in C and E. We need not copy just what we see, but we may modify shapes or change their size and arrangement to suit the spaces which they are to fill.Study a wild flower in this way. See how many design ideas you can get from one plant.
How to Use Shapes from Nature in Design.
If all our designs were like those which can be made by following the construction lines of certain definite shapes, we would very likely grow tired of seeing so much decoration of that kind. We may get many ideas of beautiful lines and shapes from a plant or a flower, and we may use these ideas in making designs, as the drawings on this page and the next will show.
Look at the sketch of the marsh-marigold, and then at the small drawings at the right. A is a petal, B is a stamen, C is a side view of the flower, showing three petals and a stem, D is a leaf, and E a bud and stem. In these sketches the lines are even, the shapes are regular, and all "accidents of growth" are omitted. Sometimes the shapes were drawn larger than their true size, and sometimes the parts were separated, as in C and E. We need not copy just what we see, but we may modify shapes or change their size and arrangement to suit the spaces which they are to fill.
Study a wild flower in this way. See how many design ideas you can get from one plant.
A, B, C
Shapes from Nature in Borders and Other Decorations.
Nature has suggested some of the most beautiful decorations we have. In the baptismal font onpage 65, the carved decoration was evidently from the growth of a vine. The vine is not represented exactly as it grew. A decoration that showed the actual appearance of the plant would not have been adapted to the space.
In the three oblongs on this page, the marsh-marigold shapes have been used in three ways. In Sketch A, the petals of the flower were used in a border design, and the size of the unit, or shape repeated, was carefully planned. If the petal shapes had been drawn larger, the border would have been too heavy for the size of the oblong.
In Sketch B, two leaves and an arrangement of petal shapes suggesting the flower were used, and in Sketch C, the side view of the flower and a part of the stem form a unit which is used to "spot" the oblong. These spots are not crowded, but are placed with careful thought as to the best appearance of the oblong. No matter how beautiful a unit, a border, or a central group may be in itself, we must think of its effect upon the object to be decorated.
Draw three oblongs four times the size of those on this page. Decorate these with a border, a central group, and by spotting. Use the design ideas you found in the lesson onpage 89.
A Simple Design for a Portfolio.
Good proportion and the right arrangement of light and dark values will often make an object beautiful, without the addition of ornament. In the chapter on still life, the objects you studied were not decorated, but they were well designed in their beauty of proportions, their color, and their contrast in values.
Many familiar objects such as envelopes, boxes, and book-covers, depend for beauty on these simple elements. The sketch of the portfolio on this page is beautiful because it has a fine proportion of parts, and because the gray values of these parts are harmonious. If the dark band of the back had been wider or narrower, if the space for the name had been placed differently, or if the size of the corner-pieces had been changed, the harmony of parts would have been disturbed, and the portfolio would not have been beautiful. Or, if the dark gray trimming had been black, there would have been too great a difference between the values used, and that again would disturb the harmonious effect of the whole. You can tell how large to make the parts, where to put them, and what arrangement of values to use, only by trying several ways, and then selecting the most beautiful.
This portfolio may be made by pasting tinted paper or book linen over cardboards. The boards should be covered first with the material chosen for the outside. Then the corners and back should be added, and a lining of paper pasted across both boards on the inside. The space for a name on the outside should be carefully planned. Within this space should be drawn very carefully, the letters of any name you may wish to place on the portfolio.
Color Schemes from Nature.
In the world about you, every object that you see has color. From the bright colors you can so easily see in flowers, leaves, grasses, and the sunset sky, to the grayed colors of tree trunks, clouds, the ground, and buildings, there is the greatest variety and range. Even in the moonlight, objects though greatly changed in effect, still have color. If it were not for this, we could not see them. It is only in the darkest night, when we can see but a few feet ahead of us, that objects seem to lose their color.
In our houses, too, everything has color—not the bright hues that we find in flowers and landscapes, but softer, grayed color. We would not like carpets and wall-paper of the bright color we find in poppies, for instance. The colors we use in our furnishings should not be glaring and intense, but quiet and restful. To find these color relations, and to train the eye to know and enjoy fine color harmonies, we study what artists have done, in paintings and other works of art. In nature, too, we find color suggestions in endless variety. In autumn the world is flooded with rich color. Even the common weed that is shown you on this page shows a combination of colors that would be safe to use in any work of our own. See how the colors in the plant have been arranged in a little scale. Such an arrangement is called a color scheme.
Make a sketch in color from some plant or seedhead. Under the sketch, arrange in little oblongs the colors you found in the plant.
Using one of Nature's Color Schemes.
Nature's color schemes become most interesting to us when we use them in some work of our own. The brush-broom holder on this page shows in its coloring the scheme found in the plant growth onpage 92.
In making a holder of this kind, choose materials that will be strong, and that will look well together. Pasteboards should be cut in good proportions, of a size and shape to fit a particular broom. These should be covered on both sides in the same way that you covered the sides of your portfolio onpage 91. The material for this covering may be stout paper, linen, plain gingham, or leather, colored to suit one of the colors in the scheme you have chosen. A simple design may be placed on the holder in another color chosen from your scheme. Then holes for lacing are to be punched in the sides. The cord for lacing should harmonize in quality and color with the rest of your design. The color of the broom itself may be brought into harmony with the holder by painting it with water-color, or by dipping it in a mixture of water-color that matches one of the colors in your scheme. A few Indian beads of bright color strung on the lacing strings will add greatly to the effect.
A Raffia Basket.
Many of the baskets made by the American Indians are so beautiful that they deserve to be classed as works of art. We wonder that a race of people so savage in their tastes and so wandering in their habits could have produced articles of so much beauty from the materials they found in the wilderness of nature. Many of these materials it is impossible for us to find or to use, but we can make with raffia and rattan, baskets that are something like those made by the Indians.
The sketch on this page is from a "soft coil" basket, made entirely of raffia. The amount of raffia used depends entirely on the size of the basket. Before beginning the basket, make a sketch showing its height, the width of the top and bottom, the shape of its sides, and a simple decoration in color. The bottom of the basket is to be made first, beginning the coil at the center. The coil should measure about a quarter of an inch in diameter, and is to be made of a number of strands of raffia, placed with the large ends together, forming a blunt point. Wind the strands tightly together with a strand of raffia, one end of which is threaded through a large needle. Work back from the end until you have a firm coil about half an inch in length. Start the spiral with this end, doubling it back, and sewing it firmly in place. Wind the raffia strands with the strand carrying the needle, sewing the coil thus made to the center. After the first time around, the stitches should be made about a quarter of an inch apart, and should be fastened through the upper part of the last coil. Strands of raffia must be added to the coil, to keep it of uniform size.
When a new needleful is taken, the end of the winding and sewing strand must be hidden in the coil. The stitch is the same throughout the basket. The bottom is kept perfectly flat, and the sides shaped to suit the design. Any decoration in color, such as is shown in the sketch, is wound in with colored raffia. When finishing the basket, the coil is to be cut, and the end tapered, wound, and sewed firmly down to the coil below.
A Woven Cushion-Cover.
Raffia is an artistic material which lends itself to many uses. The covers for the porch-pillow shown in the sketch on this page are woven with raffia, on a strong loom. The size of the loom determines the size of the woven cover. The cushion from which this sketch was made measured eighteen inches square without the fringe, and about two and a half pounds of raffia were used in the covers, the fringe, and the filling of the cushion. Sketch C shows the wooden needle used in carrying the strands of raffia over and under the warp.
Raffia is used both for the warp and the woof of the weaving. In "stringing" the loom, fourteen to sixteen pieces of raffia should be used as one strand or thread of the warp, and these strands should be tied firmly to the ends of the loom. As many of these strands must be used as can be tied on the loom without crowding. They may touch, but not overlap. In weaving, the large needle is threaded with raffia to make a strand equal in size to the strands of the warp, and this strand is woven under and over the strands of the warp, making the familiar "basket weave." The ends of the strands used in this way form the fringe, which is trimmed to the desired length when the weaving is done.
Stripes, plaids, or simple figures may be woven in with colored raffia. The two sides of the cushion may show different designs.
Color Schemes from Man's Handiwork.
Leaves, plants, flowers, insects, butterflies, shells, feathers, clouds, and countless other objects in nature can furnish us with many delightful color schemes. We can also learn much from the artistic work of people. In Indian pottery and weaving we often see fine combinations of color. The Indians understood how to make beautiful dyes from roots, berries, and other vegetable growths, and the colors obtained in this way have a peculiar quality and beauty, not found in many of the dyes in common use today. The picture on this page is from a fine specimen of Sikyatki pottery. Sikyatki was an Indian village in New Mexico, and was the home of a tribe of Pueblo Indians.
When the Indians wished to send a written message they made use of picture-writing; that is, they made pictures so simple that they are called signs or symbols. Their symbol of a tree, for instance, would look much like the tree pictures made by very little children; three short vertical marks sometimes meant three warriors; a zigzag line stood sometimes for the lightning, sometimes for a serpent; and a wavy line extending in a horizontal direction was the symbol of a brook, a river, or the great ocean.
From a good Indian bowl or basket make an exact copy, and place underneath it the scale of colors found in the object.
Using Color Schemes in Pottery.
In planning a bowl or vase like the one shown you on this page, a sketch of the front view should be made showing the diameter of the top and bottom of the bowl, its height, its shape, the color scheme, and the decoration. Such a drawing might be called a design for a bowl.
After drawing such a design, the next step is to make the bowl of clay. For the bowl represented here, a lump of clay was rolled and patted into a low, roughly shaped cylinder. The thumbs were then thrust into the middle of the cylinder, and they, together with the fingers, pushed the clay outward to form the bottom and part of the sides of the bowl. The sides were finished by adding flat pieces of clay, their edges being carefully worked until the pieces added seemed a part of the form. The sides and bottom of the bowl were kept of uniform thickness. Then the bowl was allowed to stand about a day, or until it became what is called "leather hard." The border was then painted on with potter's colors, the lower part of the bowl was colored, and the inside glazed. The bowl was again allowed to dry, this time very thoroughly. It was then fired in a potter's kiln.
Make a flower holder of clay. Use the color scheme you found in your Indian bowl or basket. If possible, fire the bowl in a kiln.