to the
method and material of its production, and make its reproduction quite
practicable, it is sure to reappear more or less marred and incomplete.
The thing is to discover what kind of character and beauty the method
will allow of--whether beauty or quality of line, or surface, or colour,
or material; and if to be reproduced in a particular method or material,
the design should be thought out in the method or material for which it
is destined, rather than as a drawing on paper, and worked out
accordingly, using every opportunity to secure the particular kind of
beauty naturally belonging to such work in its completed form.

Thus we should naturally think of _planes of surface_ in modelled work,
and the delicate play of light and shade, getting our equivalent for
colour in the design and contrast of varied surfaces. In stained glass
we should think of a pattern in lead lines inclosing one of translucent
colour, each being interdependent and united to form a harmonious whole.
In textile design we should be influenced by the thought of the
difference of use, plan, and purpose of the finished material; as the
difference between a rich vertical pattern in silk, velvet, or tapestry,
to be broken by folds as in curtains or hangings, and a rich carpet
pattern, to be spread upon the unbroken level surface of a floor. The
idea of the wall and floor should here influence us as well as the
actual technical necessities of the loom. It would be part of the
artistic purpose affecting the imagination and artistic motive, and
working with the strictly technical conditions.

The mind must project itself, and see with the inner eye the effect of
the design as it would appear in actual use, as far as possible.
Invention, knowledge, and experience will do the rest.

[Brush-Work]

Keeping, however, to strictly pictorial or graphic conditions--to the
art of the point and the surface--with which, as designers and
draughtsmen, we are more immediately concerned, we cannot forget certain
technical considerations strictly belonging to the varieties of point
and of surface, and their relations one to another. The flexible point
of the brush, for instance, dipped in ink, or colour, has its own
peculiar capacity, its own range of treatment, one might say, its own
forms.

The management admits of immense variation of use and touch, and its
range of depicting and ornamental power are