INDUSTRIAL ART 



2976 



INDUSTRIAL ART 



ity, neutral (grayed or subdued) in tone, and 

 unglazed. Gray manila paper, smooth, heavy 

 wrapping paper, or colored construction paper, 

 may be the stock from which your choice is 

 made. Fold a 

 9"xl2" sheet on 

 its short diameter. 

 You have, in this 

 folded sheet, the 

 simplest form of 

 book cover. Se- 

 lect three or four sheets of 9"xl2" white or 

 cream manila paper and fold each sheet sepa- 

 rately on its short diameter. Place one sheet 

 inside the other, in book form. Place the little 

 book inside the folded cover. Adjust the pages 

 to fit the cover, open the book at the middle, 

 and place a dot on the crease at the center. 

 Also place dots on the crease about one inch 

 from each end. With a coarse needle and linen 

 thread, sew through .the middle dot from the 

 inside to the outside, leaving a two-inch end 

 of thread on the inside of the book. Sew 

 back through the lower dot, out through the 

 middle hole and back through the upper dot, 

 bringing the thread to the middle hole and 

 tying it to the end of the string in a knot, 

 which remains on the inside of the book 

 (Fig. 1). 



For the decoration of the cover let us take 

 a leaf shape for the unit of design that is, 

 for the shape to be repeated to form, in this 

 case, a border. 



By using the device of paper cutting (Figs. 

 2 and 3) we instantly eliminate the confusing 

 details that enter into the drawing or painting 

 of a leaf. In design, we are interested only 

 in the shapes of things, and so we proceed to 

 cut out, not one, but several leaf shapes, all 

 exactly alike. We therefore fold a slip of 

 paper 7"x2" into a fourfold thickness, as shown 

 in Fig. 4. Fig. 5 shows the process of free 

 cutting. Fig. 6 shows the four leaf shapes, 

 exactly alike, which result from this cutting. 

 Fig. 6 cannot be called a design, or an ar- 

 rangement, because there is no order or plan 

 observed in placing the leaves. In Fig. 7, 

 however, we see that the mind has been at 

 work, and order is established. The shapes 

 have been thoughtfully spaced and arranged 

 in a row between marginal bands. This ar- 

 rangement we may call a border. Such a 

 border could be extended indefinitely, if we 

 repeated more shapes, spaced like those in 

 Fig. 7. When a repeated shape makes us feel 

 a certain continuance or movement, we call it 



rhythm. Rhythm, or the apparent movement 

 of related shapes, is one of the important 

 principles of design. 



When we repeat related shapes like the 

 leaves in Fig. 7, we see another effect besides 

 rhythm. Between every two leaves there is 

 a space that is a part of the background. If 

 you were to move the two leaf shapes farther 

 apart, the shape of the background space 



Fig..2 



Nature study through paper cutting 



Fig,4 



Fig.5 



Free cuttin< 

 leaf shap< 



of 



Fig.6. 



our design units 

 cut at once 





. Fig. 7 



would be wider. If you placed the two leaf 

 shapes so that they touched, the background 

 shapes would again be changed. In designing 

 border rhythms we should try to adjust the 

 repeated shapes so that the background spaces 

 will be beautiful in proportion and in shape. 

 Sometimes we have to add other elements to 

 background shapes in order to make them in- 

 teresting. You will see how this is done in 

 later problems. 



