Pattern Design - A Book for Students Treating in a Practical Way of the Anatomy, Planning and Evolution of Repeated Ornament

Lewis F. Day

Description

This vintage book contains a detailed treatise on pattern design, being a practical book for students concerning the anatomy, planning, and evolution of repeated ornament. Complete with interesting information, valuable tips, and a plethora of useful diagrams and examples, this book will greatly appeal to anyone with a keen interest in design. It would make for a worthy addition to collections of allied literature. The chapters of this book include: 'Practical Pattern Planning', 'The 'Drop' Repeat', 'Smaller Repeats', 'Sundry Scaffolding', 'The Turnover', etcetera. This text is being republished now in an affordable, modern edition - complete with a specially commissioned new biography of the author.

Informations

• Publié par: Read Books Ltd.
• Date de parution: 08 janvier 2021
• Nombre de lectures: 0
• EAN13: 9781528760577
• Langue: English
• Poids de l'ouvrage: 5 Mo

Extrait

PATTERN DESIGN
A BOOK FOR STUDENTS TREATING IN A PRACTICAL WAY OF THE ANATOMY, PLANNING EVOLUTION OF REPEATED ORNAMENT
BY
LEWIS F. DAY
Copyright 2013 Read Books Ltd.
This book is copyright and may not be reproduced or copied in any way without the express permission of the publisher in writing
British Library Cataloguing-in-Publication Data
A catalogue record for this book is available from the British Library
CONTENTS
LEWIS FOREMAN DAY
PREFACE
I - WHAT PATTERN IS
II - THE SQUARE
III - THE TRIANGLE
IV - THE OCTAGON
V - THE CIRCLE
VI - THE EVOLUTION OF PATTERN
VII - PRACTICAL PATTERN PLANNING
VIII - THE DROP REPEAT
IX - SMALLER REPEATS
X - SUNDRY SCAFFOLDINGS
XI - THE TURNOVER
XII - THE TURN-ROUND
XIII - PATTERN PLANNING IN RELATION TO TECHNIQUE
XIV - HOW TO SET ABOUT DESIGN
XV - TO PROVE A PATTERN
XVI - COLOUR
XVII - BORDERS
XVIII - PATTERN NOT STRICTLY REPEATING
XIX - EXPEDIENTS IN PRACTICAL DESIGN
XX - THE INVENTION OF PATTERN
Lewis Foreman Day
Lewis Foreman Day was born in 1845. A designer and decorative artist, he was also one of the major design reformers of the later nineteenth century - central in promoting the newly propagated Arts and Crafts movement.
Day spent his early education in England and Germany, and initially took up employment at a stained glass firm in order to pay for his evening design courses. This mostly consisted of trips to the Victoria and Albert Museum in New York, which greatly influenced his later thinking. By the age of twenty five, Day was a freelance designer, and soon built up a network of important clients. He also wrote several articles which were accepted by the major arts magazines of the day. In these articles, Day argued that designers should have more esteem in the public eye, closer to the reputation of fine artists - but that all craftsmen should avoid pretension.
Day was Vice-President of the Society of Arts as well Master of the Art Workers Gild , and spent much of his time engrossed in society politics and travel. This did not negate his involvement in the practical creation of art however, and Day designed interiors and furniture, stained glass and most notably two dimensional patterns on textiles, tiles and wallpaper. Such a variety of accomplishments was not unusual for the time, especially for the men involved in the arts and crafts movement, and Day insisted that modern industry must be adopted in designer s production methods. He followed this principle in practice as well as theory, and penned several books on the subject, most notably, The Anatomy of Pattern (1887), Nature and Ornament (1909) as well as a study of The Art of William Morris (1899). He also penned two highly influential text books; Pattern Design (1903) and Ornament and Its Application (1904), both of which won official approval as well as being regularly recommended for design examinations.
Day was a highly influential figure in the art world for the entirety of his life, and never tired in his involvement in artistic societies, promoting and elevating the status of traditional crafts . He died in 1910, at the age of sixty-five.
PREFACE
A MAN has a right, I suppose, to pull down the building he once put up, and to raise another in its place. If he should see fit to use sometimes the very stones which belonged to it, he would only be stealing from himself. I have done something very much like that.
In the course of the last fifteen years the times have changed, and with them the standpoint of students and teachers of design; and, though my point of view has not altered, my outlook has widened with experience. When it came to the revision of The Anatomy of Pattern with a view to a fifth edition, it seemed to me I had done all I could do to it, that it was past mending, and that the simplest thing would be to start afresh.
The present volume, however, though it covers the ground of the former one, and answers much the same purpose, is not the same, but really a new book upon the foundations of the old one.
It contains, indeed, all that was in the other, but otherwise expressed. Here and there an explanation or description, which, by revision after revision, had been reduced to the fewest and plainest words I could find, has been allowed to stand. So with the illustrations, the greater number of them are new. Such of the old diagrams as were essential to the purpose of the book have been drawn again, not merely on the larger scale allowed by the page, but in a simpler and more self-explanatory way.
It will be seen from them and from the table of contents that Pattern Design covers much more ground than The Anatomy of Pattern. But it does not go beyond its subject. The appearance, since the original publication of my little books, of a number of similar volumes each attempting to embrace more than the one before it, has firmly convinced me that the better plan is to confine oneself to a definite subject, and to treat it thoroughly. The last word, of course, is never said so long as there is life left in it.
I know very well that knowledge gained in practice can be only very partially conveyed in words; but something of the experience of five and thirty years and more in practical pattern design is surely communicable; and, for what it is worth, I give it here.
LEWIS F. DAY.
13 MECKLENBURGH SQUARE,
LONDON, W.C.,
1 st September 1903.
I
WHAT PATTERN IS
Pattern not understood-The meaning of the word-Comes of repetition, and is closely connected with manufacture-Has always a geometric basis-Use and necessity of system in design-Lines inevitable, and must not be left to chance.
To readers of a book upon the subject, no apology for pattern is necessary. Modest as may be its pretensions to artistic consideration, it covers ground enough to command attention. It is here and there and everywhere about us. There is too much of it by more than half-and more than half of it is of such a kind as to make the discriminating wish they could do without it altogether. Still, there it is; and there is no escape from it.
If folk knew a little more about it, realised what was and what was not within the control of the designer, understood how pattern came to be, and something of its scope and purpose, as well as of the processes through which a design must pass before ever it comes (for their momentary delight or lasting annoyance) to be produced, they would be less at its mercy. For the difficulty of designing is by no means in proportion to the importance of the field of design; and in the case of repeated pattern, with which we have mostly to do-even those of us who are not concerned with trade or manufacture-the invention it requires is in inverse ratio to the free scope afforded. It is easier, as William Morris confessed, to design a big hand-made carpet, in which the artist is free to do very much as he likes, than to plan a small repeating pattern to the width of Wilton pile or common Kidder-minster. The art of pattern design consists not in spreading yourself over a wide field, but in expressing yourself within given bounds.
The very strictness of such bounds is a challenge to invention. In the realm of applied design manufacture is autocrat, and the machine is taskmaster. Let who can rebel against their authority. For those who cannot-and they are the great majority-revolt is futile. We are all of us, artists no less than the rest of the world, dependent upon manufacture; and those of the title who stand aloof from it give ground for the accusation, commonly brought against artists, of being at best unpractical and wrong-headed. Their sense of fairness is at fault, too, in blaming manufacture because it falls short of art, while they stand by and refuse a helping hand to the makers of things which will be made, and must be made, and made by machinery too, whether they like it or whether they do not. It rests with those who have some faculty of design (their name is not legion) to come to the aid of manufacture, which, without help from art, is given over to the ugliness which they deplore.
Pattern, it seems plain, and repeated pattern, conforming to the conditions of manufacture and even to mechanical production, is a consideration of importance, not merely to manufacturers and others engaged in industries into which art may possibly enter, but to all whose comfort and well-being depends in any degree upon the beauty and fitness of their surroundings.
The word pattern is here used in a somewhat technical sense-not, as the dictionary has it, to mean a specimen nor yet a shape or model for imitation, but ornament and especially ornament in repetition. Pattern is, in fact, the natural outgrowth of repetition; and in every case the lines of its construction may be traced; they pronounce themselves, indeed, with geometric precision. Geometric pattern grew, of course, out of primitive methods of workmanship. No mechanism so simple but it gives rise to it. To plait, to net, to weave, or in any way mechanically to make, is to produce pattern. The coarser the work, the more plainly is this apparent-as, for example, in the mesh of a coarse canvas; but, though refinement of workmanship may be carried to the point at which, as in the finest satin or the most sumptuous velvet, warp and weft are not perceptible to the naked eye, the web is always there, and forms always a pattern. The pride of the mechanist is to efface such evidence of structure. To the artist it adds an interest; and, far from desiring to obliterate it, he prefers frankly to confess it, and to make the best of the texture or pattern which a process may give. He regards it as a source of inspiration even, which t