ductive
reproductions of surface relief and lighting to think more of these
qualities than any other, and to endeavour to put them in the wrong
places--in places where we want colour planes rather than shadow planes,
flatness and repose rather than relief, for instance, as mostly in
surface decoration.

But one way of learning the value of emphasis is to draw from a
photograph, and it will soon be discovered what a difference in
expression is produced by dwelling a little more here, or a little less
there.

[The Value of Emphasis]

In designing, the use of emphasis is very important; and it may be said
that drawing or designing without emphasis is like reading without
stops, while awkward emphasis is like putting your stops in the wrong
place.

By a difference in emphasis the same design may be given quite a
different effect and expression.

[Illustration (f038): Effect of Different Emphasis in the Treatment of
the Same Design.]

Suppose, for instance, we were designing a vertical pattern of stem,
leaves, and fruit in one colour. By throwing the emphasis upon the
leaves, as in No. 1, we should gain one kind of effect or decorative
expression. By throwing the emphasis upon the fruit, and leaving the
leaves in outline, we should get quite a different effect out of the
same elements, as in No. 2. While by leaving stem, leaves, and fruit all
in outline, and throwing the emphasis upon the ground, we should get,
again, a totally distinct kind of effect and expression.

Similar differences of effect and expression, owing to differences of
emphasis, might be studied in the drawing and treatment of a head (as in
A, B, and C). The possibilities of such variations of emphasis in
drawing are practically unlimited and co-extensive with the variations
of expression we see in nature herself. The pictorial artist is free to
translate or represent them in his work, controlled solely by the
conditions and purpose of his work.

[Illustration (f039): Different Emphasis in the Treatment of a Head
[examples A, B, C].]

It is these conditions and purposes which really control both choice and
treatment, and determine the emphasis, and therefore the expression of
the work.

No kind of art can be said to be unconditioned, and the simplest and
freest of all, _the art of the point and the surface_, which covers all
the graphic art and flat designing, is still subject to certain
tech