d drawing as a means of discipline or as an aid to the
technical student is not under discussion. The value of drawing as a
fundamental language for such purposes is universally admitted. The
questions are these: Can some form of practice in art be used to aid
in the understanding of the principles of art? Is representative
drawing the only form of practice available for the lay student who
undertakes the study of art? Fortunately, the advocates of practice
can offer an alternative; namely Design. Mr. Arthur Dow distinguishes
between the Drawing method (Representation) and the Design method by
calling the former _Analytical_ and the latter _Synthetical_. In an
article on "Archaism in Art Teaching"[107] he says: "I wish to show
that the traditional 'drawing method' of teaching art is too weak to
meet the new art criticism and new demands, or to connect with
vocational and industrial education in an effective way; but that the
'Design method' is broad and strong enough to do all of these things."

"The drawing method," he continues, "is analytic, dealing with the
small, the details, the _application_ of art; the design method is
synthetic, dealing with wholes, unities, principles of art."

Mr. Dow carries his exposition into the application of the Design
method to vocational work, but it can be used with equal effect in
supplementing the lay student's study of art.

But the questions immediately arise: Is not a preparation as long and
arduous required to make a designer as to make a painter or a
sculptor? And is not the half-baked designer in as sorry a plight as
the half-baked artist of any kind? The answer to both is simple: The
lay student is not in any degree a painter or a sculptor or a
designer, neither is he in training for any of these professions. The
advantage of the Design method is, that with no skill whatsoever in
drawing, the beginner in the study of art can apply to his own efforts
the same principles of design which have from time immemorial entered
into the creation of great works of art. The college freshman planning
a surface design with the aid of "squared" paper is applying the same
principles that guided the hand of Michelangelo as it swept across the
ceiling of the Sistine Chapel.

Such principles as symmetry, balance, rhythm, emphasis, harmony in
form, mass, value, and color can be inculcated by solving the simplest
as well as the most complicated problems. A graded series of exercises
can be u