226 
RIIRAMIC STUDIO 
DESIGN 
Kathryn E. Cherry 
DARK in line, the relation in width of the dark and light 
lines, is another means of interest in carrying out design. 
As long as we depend upon the use of lines in uniform widths 
whose sole purpose is to break up the space, we are enjoying 
the design from the point of space relation. As we elaborate 
our designs, however, we grace them by introducing a new 
means of expression, that of varying the widths of lines. This 
gives lis unlimited ways of expressing the same idea, just as 
we might express a beautiful theme in music with variations 
of time, which in design corresponds to space; then in tone cor- 
responding to light and dark in design. 
The range of this variation may seem limited at first; 
that it is not we may see if we look about us in our homes, in 
the shops, and at the decorations in public places. There is, 
in fact, unlimited opportunity in this direction. 
The early weavers depended entirely upon dark in line 
and left us fine examples which mean much toward our appre- 
ciation of what may be done in the simplest way by the use 
of lines in dark and light. Our American Indians had an 
appreciation of this means of decoration; their rugs, blankets, 
baskets, and bead-work are splendid examples. In many of 
the old mosaic floors, slabs, foundations, in Indian and Persian 
rugs, we find interesting illustrations. There are no set rules 
for us to follow; but we have reproductions of the best that has 
been accomplished from which to obtain suggestions. In our 
museums we have the old textiles, pottery, basketry; in li- 
braries we have books on the subject at our command. We 
should avail ourselves of these opportunities to gain informa- 
tion of what has been accomplished. 
Just as soon as we put a spot on paper it calls our attention. 
It makes a great deal of difl'erence just where we put this spot 
within an outline, say a square or a circle. Think of a picture 
with a moon in it. Now, where is thfe proper place for it in 
the picture? Never in the center, nor too much to either side, 
nor toward the edge, nor below the horizon. 
You see how important it is to know this; so it is with the 
problems. We shall take up in this course the importance of 
knowing where to put the weight of units, the dark and light 
in pattern. One of the best examples, which is easily obtained 
and familiar to most of us, is the portrait by James McNeil 
Whistler of his mother. How well placed the figure is on the 
canvas! then the lines which fill the space made by the picture, 
the simplicity of form, the balance of lines, the dark and light. 
Many such examples are found in the compositions of the old 
masters. Among these are Leonarda Da Vinci, Botticelli, 
Michael Angelo, Raphael, all of whom understood the law of 
line balance, space filling and the beauty of light and dark. 
We should never fail to study the Japanese, as their prints are 
splendid illustrations and can be easily obtained. 
Exercise L 
Before we proceed with our problems, learn to run your 
scales smoothly; that is, learn to make firm, expressive India 
ink lines in varying widths. This practice is very necessary, 
and the control of the brush can be gained only in this way. 
The freedom in the use of the brush obtained in this way is 
remarkable and will be a great joy to you in all your work. 
Pin a sheet of paper so that it is straight on the drawing 
board; this is essential if you would have good lines. The 
line must not be drawn with the fingers. The whole hand and 
arm does the work with one stroke. Hold the brush in a 
perpendicular position, with the small fingers as your gauge; 
decide upon the width of the line; then with a slow sweep draw 
your brush from left to right. 
Make lines not less than four inches long; it is advisable to 
go slowly; then the line can be watched as it develops under the 
brush. Try this exercise in lines of various widths, making 
lines of uniform weight close together in groups of six or more. 
These exercises and experiments are things we should like to 
skip over in our studies, but only as we advance do we appre- 
ciate the necessity of practice and then we regret having shirked 
it. Any time given to this sort of work is beneficial. It is 
well to practice these exercises whenever a few leism-e moments 
can be had, before taking up the more serious work of carrying 
out the lessons. A large part of your success in designing will 
depend upon your ability to make good firm lines. The ability 
to make good lines is most encouraging to the student. If the 
lines are weak, nervous ones, there is no incentive to develop 
the design. When we draw a curve, the very direction or 
position it takes will suggest either a graceful or an awkward 
line. For this reason it behooves us to spend some time on 
what might be termed a playful exercise. 
Exercise II. 
Problem I. — Make four examples of squares, using 
straight lines, varying the width of lines to express dark and 
light in line. For example note Figure I. 
Problem II. — ^Make two examples of rectangles, size 
2x3 carried out in oblique lines. Vary the width of lines. 
See Figure II. 
Problem III. — Make three plaids size 4 inches square. 
Vary the width of lines. Note the variety of space in Figure 
III. 
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