f
lines.

A series of birds upon a plan of this kind, for instance, would form a
frieze on simple bordering in abstract line alone, and might be quite
sufficient for some purposes. The same thing would be capable of more
elaborate treatment and different effect by relieving the birds upon a
darker ground, by defining the details of their forms more, or by
alternating them in black or white, or by adopting the simple principle
of counterchange (see p. 215[f115]).

[Illustration (f115): Decorative Treatment of Birds.]

Flowers or figures would be capable of the same simple and abstract
treatment; and almost any form in nature, reduced to its simplest
elements of recurring line and mass, and rhythmically disposed, would
give us distinct decorative motives.

[The Ornamental Aim]

It is quite open to the designer to select his lines and forms straight
from nature, and, bearing in mind the necessity for selection of the
best ornamental elements, for a certain simplification, and the
rhythmical treatment before mentioned, it is good to do so, as the work
is more likely to have a certain freshness than if some of the
well-known historic forms of ornament are used again. We may, however,
learn much from the ornamental use of these forms, and use similar forms
as the boundaries of the shape of our pattern units and masses.

It is good practice to take a typical shape such as the Persian
radiating flower or pine-apple, and use it as the plan for quite a
different structure in detail, taking some familiar English flower as
our motive. The same with the Indian and Persian palmette type. It is
also desirable, as before pointed out, to draw sprays within formal
boundaries for ornamental use. By such methods we may not only learn to
appreciate the ornamental value of such forms, but by such adaptation
and re-combination produce new varieties of ornament (see p. 217[f116]).

[Illustration (f116): Floral Designs Upon Typical Inclosing Shapes of
Indian and Persian Ornament.]

We may perceive how distinct are the two aims as between simple graphic
drawing, or delineation, and what we call design, or conscious
arrangements of line or form. While planes of relief, varied form and
surface, values of light and shade, and accidental characteristics are
rather the object with the graphic draughtsman, typical form and
structure, and recurring line and mass, are sought for by the
orna