By Walter Crane
Линия и форма. Практическое руководство для дизайнера.
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Rti THE GRAPHIC PURPOSE are so natural fact, has so make up our mind soon discover that will however, even of that it is difficult to many sides, which one to pursue. Thought, truths, or rather that truth, many in this pursuit of truth we strike a road that naturally divides itself, or branches out, into two main paths distinct in These two paths in art have been called by aim. many names ; they occasionally cross each other, or overlap, and are sometimes blended, or even confused but it will be use ul for our present purpose to keep them very distinct.
These things must be considered, of course, merely as practical aids to invention not by any means as substitutes for it. One cannot give any recipe for designing, and no rules, principles, or methods can supply the place of imagination and " He who would bring back health from fancy. " At the same time the imagination can be enfeebled by starvation and neglect. It can be dull and sordid It depressed by surroundings. is apt to grow, like other what living things, by it feeds on, and is stronger for exercise and de- velopment.
FLAX M AN DtSIGNS TO : HOMER. end the horizontal and the vertical, with every degree and modulation between them the undulating curve giving way to the springing energetic spiral, the meandering, flowing line sinking to the horizontal or the sharp opposition and thrust of rectangular, the nervous resistance of broken curves, the flame-like, triumphant, ascending verticals. Truly the designer may find a great range of expression within the dominion of pure line. Line is, indeed, as I have before termed it, a : ; : 21 CAPACITY OF LINE language, a most sensitive and vigorous speech of many dialects which can adapt itself to all purposes, and is, indeed, indispensable to all the provinces of design in line.