need occasion no
anxiety, and, indeed, it is often more helpful to the line than
otherwise.

[Illustration: FIG. 65 MUCHA]

Perhaps there is no more difficult thing to do well than to model
the figure while still preserving the decorative outline. Several
examples of the skilful accomplishment of this problem are illustrated
here. Observe, for instance, how in the quaint Duerer-like design
by Mr. Howard Pyle, Fig. 66, the edges of the drapery-folds are
emphasized in the shadow by keeping them white, and see how wonderfully
effective the result is. The same device is also to be noticed in
the book-plate design by Mr. A. G. Jones, Fig. 62, as well as in
the more conventional treatment of the black figure in the Bradley
poster, Fig. 67.

[Illustration: FIG. 66 HOWARD PYLE]

[Illustration: FIG. 67 WILL H. BRADLEY

[Side note: _Color_]

In the rendering of decorative subjects, the Color should be, as
much as possible, designed. Whereas a poster, which is made with
a view to its entire effect being grasped at once, may be rendered
in flat masses of color, the head- or tail-piece for a decorative
book-page should be worked out in more detail, and the design should
be finer and more varied in color. The more the color is attained
by means of pattern, instead of by mere irresponsible lines, the
more decorative is the result. Observe the color-making by pattern
in the book-plate by Mr. P. J. Billinghurst, Fig. 68. A great variety
of textures may be obtained by means of varied patterns without
affecting the breadth of the color-scheme. This may be noticed
in the design last mentioned, in which the textures are extremely
well rendered, as well as in the poster design by Mr. Bradley for
the _Chap-Book_, just referred to.

[Illustration: FIG. 68 P. J. BILLINGHURST]

[Illustration: FIG. 69 "BEGGARSTAFF BROTHERS"]

The color-scheme ought to be simple and broad. No set rules can
be laid down to govern its disposition, which must always have
reference to the whole design. The importance of employing such a
broad and simple scheme in decorative drawing needs no better argument
than the effective poster design by the "Beggarstaff Brothers,"
Fig. 69, and that by Mr. Penfield, Fig.70. Of course the more
conventional the design the less regard need be paid to anything
like a logical disposition of color. A figure may be set against
a black landscape with white trees without fear of criticism from
reasonable people, provided it l