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Author Name:    CRANE, Walter

Title:   Line & Form

Publisher:    G. Bell & Sons, Ltd., London, 1912, 

Seller ID:   100598

CRANE, Walter. Line & Form London : G. Bell & Sons, Ltd., 1912. Fifth Printing. Pp (6),vii-xv,(1),1-[288]. Illustrated. Index. Crown 8vo, illustrated blue cloth, lettered in white, top edge gilt, others untrimmed. Contents : Chapter I. Origin and Function of Outline—Silhouette—Definition of Boundaries by—Power of Characterization by—Formation of Letters—Methods of Drawing in Line—The Progressive Method—The Calligraphic Method—The Tentative Method—The Japanese Direct Brush Method—The Oval Method—The Rectangular Method—Quality of Line—Linear Expression of Movement—Textures—Emotion—Scale of Linear Expression. Ch. II. The Language of Line—Dialects—Comparison of the Styleof Various Artists in Line—Scale of Degrees in Line—Picture Writing—Relati on of Line to Form—Two Paths—The Graphic Purpose—Aspect—The Ornamental Purpose—Typical Treatment or Convention—Rhythm—Linear Plans in Pattern Designing—Wall-paper Design—Controlling Forms—Memory—Evolution in Design—Variety inUnity—Counterbalance—Linear Logic—Recurring Line and Form—Principle of Rad iation—Range and Use of Line. Ch. III. Of the Choice and Use of Line—Degreeand Emphasis—Influence of the Photograph—The Value of Emphasis—The Technic al Influence—The Artistic Purpose—Influence of Material and Tools—Brushwork—Charcoal— Pencil—Pen. Ch. IV. Of the Choice of Form—Elementary Forms—Space-filling—Grouping— Analogies of Form—Typical Forms of Ornament—Ornamental Units— Equivalents in Form—Quantities in Design—Contrast—Value of Variationsof Similar or Allied Forms—Use of the Human Figure and Animal Forms in Orn amental Design. Ch. V. Of the Influence of Controlling Lines, Boundaries Spaces, and Plans in Designing—Origin of Geometric Decorative Spaces and Panels in Architecture—Value of Recurring Line—Tradition—Extension— Adaptability—Geometric Structural Plans—Frieze and Field—Ceiling Decoration—Co-operative Relation. Ch. VI. Of the Fundamental Essentials of Design: Line, Form, Space—Principles of Structural and Ornamental Line in Organic Forms—Form andMass in Foliage—Roofs—The Mediæval City—Organic and Accidental Beauty— Com position: Formal and Informal—Power of Linear Expression—Relation of Massesand Lines—Principles of Harmonious Composition. Ch. VII. Of the Relief of Form—Three Methods—Contrast—Light and Shade, and Modelling—The Use of Contrast and Planes in Pattern Designing— Decorative Relief—Simple Linear Contrast—Relief by Linear Shading— Different Emphasis in relieving Form by Shading Lines—Relief by means of Light and Shade alone without Outline—Photographic Projection—Relief by different Planes and Contrasts of Concave and Convex Surfaces in Architectural Mouldings—Modelled Relief— Decorative Use of Light and Shade, and different Planes in Modelling and Carving—Egyptian System of Relief Sculpture—Greek and Gothic Architectural Sculpture, influenced by Structural and Ornamental Feeling—Sculptural Tombs, Medals, Coins, Gems—Florentine Fifteenth-century Reliefs—Desiderio di Settignano. Ch. VIII. Of the Expression of Relief in Line-drawing—Graphic Aim and Ornamental Aim—Superficial Appearance and Constructive Reality— Accidents and Essentials—Representation and Suggestion of Natural Form in Design—The Outward Vision and the Inner Vision. Ch. IX. Of the Adaptation of Line and Form in Design, in various materials and methods—Mural Decoration—Fresco-work of the Italian Painters—Modern Mural Work—Mural Spacing and Pattern Plans— Scale—The Skirting—The Dado—Field of the Wall—The Frieze— Panelling—Tapestry—Textile Design—Persian Carpets—Effect of Texture on Colour—Prints—Wall-paper—Stained Glass. Ch. X. Of the Expression and Relief of Line and Form by Colour—Effect ofsame Colour upon different Grounds—Radiation of Colour—White Outline to cl ear Colours—Quality of Tints relieved upon other Tints—Complementaries—Harmony—The Colour Sense—Colour Proportions—Importance of Pure Tints—Tones and Planes—The Tone of Time—Pattern and Picture—A Pattern not necessarily a Picture, but a Picture in principle a Pattern —Chiaroscuro —Examples of Pattern-work and Picture-work—Picture-patterns and Pattern-pictures. Wear to spine ends and edges, spine lettering mostly rubbed off, corners bumped, ex-library (inkstamp, rear pouch), one page nearly detached, else good. 25.00


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