get some transparent paper, through which an ordinary outline picture can be plainly seen. Now trace with increased care."
When the mastery of the pencil has been so far attained that you can draw a
firm but
light sweeping line, you can begin copying good outline sketches, say a simple spray of leaves. The next step may be taken by arranging the leaves in a circle, or along a line of construction formed by drawing semi-circles or segments of circles alternately above and below a horizontal line. If you find difficulty in doing this, cut your leaves out in paper and arrange them on your construction line. Trace the outlines, and repeat. Inclose the design thus formed within parallel lines and the result will be a design for a border. For a centre piece you would need a different method. Draw a circle or ellipse of the size required. Draw horizontal and perpendicular diameters through this, and arrange your leaves on these lines, or else arrange them in a wreath on the curved line. Mr. Leland recommends a little affair, made somewhat on the principle of a kaleidoscope to help in getting the idea of symmetrical and pleasing combinations.
"Obtain two strips of looking glass, each two inches wide and six inches long. Paste their backs on a single piece of tough paper, or muslin, which may just be brought over the edge to prevent cutting. Do this so that the glasses will open and shut like a portfolio. Now take any small drawing of any kind whatever, an outline sketch of a leaf being the best, stand the glasses upright at an equal angle, and put the small design between them. By the figure formed by the reflections it may be seen that any design, however meaningless or irregular, becomes symmetrical as a part when it is accurately repeated in union with itself."
Practice drawing a spiral line, for it, in varied combination, is the foundation of graceful design. "The first step after repeating simple designs, is to evolve the off-shoots or transcendental curves, or long V's from a spiral."
Study of a good, conventional design with an endeavor to discover its "motive" or foundation line will aid one much in forming combinations of their own.
The same general directions will aid one in forming less conventional designs. Study beautiful forms in nature. If you cannot copy them directly from the object, draw them from good outlines, using tracing paper if necessary. It will not belong before you throw aside this aid, and trust to your own resources. And as your power over your pencil grows, your interest in your work will also grow. Magazines and papers will constantly yield you new suggestions. A portfolio or box will soon be needed to contain your collection of "hints." Nature even will acquire a new interest to you. Copy, whenever you can, anything that strikes you as really good. Your taste will be educated in the process. By no means neglect to make copies of letters, either quaint or pretty. Your reading will soon be taxed for the benefit of your new pursuit. To say nothing of books bearing directly on the subject, such as the works of Owen Jones, Whewell, Dusser, etc., quaint or peculiarly appropriate mottoes will be seized on with avidity, either suggesting a design or illustrating one already in hand.
But in designing you must bear in mind the fact that you must work always within certain limitations. Absolute imitation of nature is impossible in decorative art. It is one of the principles most to be insisted on, that decoration is not picture making. It must not detract from the original usefulness of the object decorated. It also must be limited by the material in which the design is to be executed. Thus, in needle-work, the characteristic outlines of a flower are all that should be attempted. In working a pink or a corn-flower, for instance, it would be folly to imitate closely the notched edges of the petals. The fact that they are serrated can be indicated by a few lines. In like manner the veins should be suggested rather than closely copied.
Again, the design should be clear and free. Leaves which are naturally crowded and overlap each other should be so far conventionalized as to lie flat and distinct. While we may alter the arrangement of leaves and flowers to suit our purpose to a certain degree, we must remember that the character of the plant form must always be maintained. We may make a trailing or wreath-like design of the ivy, rose, or blackberry, because nature herself suggests such a use. But a wreath formed of tulips, daffodils, or calla-lilies would be a sad mistake. The upright flowers, are, however, very useful for such purposes as borders, mantel balances, etc.; but when thus used, the flowers should always be supported and bound together, in a manner, by one or more horizontal lines of decorative work. If for a border, lines above as well as below the design serve to emphasize it and throw it out. The same effect is produced by working the design on a separate strip of material and applying it to the piece of work to be decorated.
I have dwelt a little at length on this subject because so many of the decorative arts are dependent on it. In fact, I doubt if any ever attain too much excellence in certain departments of ornamental work, without finding, through much tribulation, that they must learn to draw.
One caution in closing. Do not, until you have practised for a long time, attempt to draw from memory. Have the form which is the foundation of your design before you, remembering always that no matter how much you may conventionalize that form, the characteristics of the original must be preserved.
Let me add a word of encouragement taken from the Manual quoted above. "If a beginner can only draw a line half an inch long, in a clean, well-defined manner, and with confidence, he may hope to do anything in art," and "My own experience warrants me in declaring that grown-up people learn to draw much more rapidly than children, since they have better memories, stronger will, and far more perseverance."
EMBROIDERY.
In selecting materials for embroidery it is well to remember that, as this kind of work is very durable, the best are always the cheapest.
The foundations usually employed are linens of various makes, including crash, Bolton sheeting (an English fabric whose place can be supplied here by an unbleached cotton knit called Wamsutta twill), Momie cloth, both in wool and cotton, canton flannel, serge, felt, satin, velvet and plush.
The materials with which the work is done are as varied. Marking cotton, crewels, the many varieties of embroidery silk, arrasene (a kind of chenille), gold and silver thread, and bullion, are all used.
In planning a piece of work there are several things to be taken into consideration. The use for which the article is designed must govern largely the choice of the material. It would be absurd to use silk or velvet for a bureau cover, or crash for a banner screen. For this reason the tidies, which have been so fashionable of late, formed of squares of painted satin, set together with lace always strike me as in bad taste. Darned net, drawn work, fine linen sketched with indelible ink or worked in outline, would make equally dainty tidies, while the fact that they can be easily laundried makes their name seem no longer a misnomer. Again, the material with which we work must be adapted to the foundation. Crewel would be out of place on handsome silks and satins, but is very suitable for all the varieties of linen, cotton, and woollen goods. A judicious use of a few stitches of silk will often add wonderfully to the brilliancy of crewel work.
Filofloss and etching silks are both admirable for working outline designs on linen.
Etching silk works best when you use it as it comes from the spool: that is, thread your needle before
Fig. 1.
cutting off the silk. Used in this way, it is not so apt to untwist or knot.
There are quite a number of stitches employed in embroidery, but only a few are generally used. Of these the most important is what is generally called outline or stem stitch. It is extremely simple, being merely a kind of back-stitch, which can easily be understood from the designs in this stitch—as in Figs. 1 and 2. Very fine lines are sometimes worked in what is called split stitch, in which the needle is brought out so as to split the thread