 picture. This is the
method to aim at in architectural illustration. The poetry of
architecture and its highest qualities of dignity of mass and outline
are smothered by that laborious accuracy which covers every part of the
drawing with a vain repetition of unfeeling lines.

Where, however, the illustration is purely imaginative, the decorative
standpoint should be kept steadily in view, and the process of selection
and abstraction carried very much farther. Here, at length, the
illustrator can so order his design that the drawing and the printed
type form a single piece of decoration, not disregarding the type, but
using it as in itself a means of obtaining texture and scale and
distributed effect. The type is, as it were, the technical datum of the
design, which determines the scale of the line to be used with it. With
a wiry type no doubt a wiry drawing is desirable, but the types of the
great periods of printing are firm in outline and large and ample in
distribution. Assuming, then, that one of these types can be used, the
line of the accompanying design should be strongly drawn, and designed
from end to end with full allowance for the white paper. No better model
can be followed than Duerer's woodcuts. The amount of work which Duerer
would get out of a single line is something extraordinary, and perhaps
to us impossible; for in view of our complex modern ideas and total
absence of tradition, probably no modern designer can hope to attain to
the great German's magnificent directness and tremendous intensity of
expression.

Deliberate selection, both in subject and treatment, becomes therefore a
matter of the first importance. The designer should reject subjects
which do not admit of a decorative treatment. His business is not with
science, or morals, but with art for its own sake; he should, therefore,
select his subject with a single eye to its artistic possibilities. As
to the line itself, it is impossible to offer any suggestion, for the
line used is as much a part of the designer's idea as the words of a
poem are of a poet's poetry; and the invention of these must come of
itself. But once in consciousness, the line must be put under rigid
control as simply a means of expression. There is an insidious danger in
the line. Designers sometimes seem to be inebri
picture. This is the 
 method to aim at in architectural illustration. The poetry of 
 computer architecture and its eminent qualities of dignity of mass and outline 
 are smother by that arduous accuracy which covers every part of the 
 drawing with a conceited repetition of unfeeling lines. 

 Where, however, the exemplification is purely imaginative, the decorative 
 point of view should be kept steadily in view, and the process of selection 
 and abstractedness carried very much far. Here, at length, the 
 illustrator can so regulate his design that the drawing and the printed 
 character form a single while of decoration, not disregarding the character, but 
 using it as in itself a mean of obtaining texture and scale and 
 distributed effect. The character is, as it were, the technical datum of the 
 design, which determines the scale of the line to be used with it. With 
 a wiry type no doubt a wiry drawing is desirable, but the types of the 
 great periods of printing are firm in outline and large and ample in 
 distribution. Assuming, then, that one of these types can be use, the 
 line of the accompanying invention should be strongly drawn, and designed 
 from end to goal with full allowance for the white paper. No good model 
 can be followed than Duerer's woodcuts. The amount of work which Duerer 
 would get out of a unmarried line is something extraordinary, and perhaps 
 to us impossible; for in view of our complex modern mind and entire 
 absence of tradition, probably no modern designer can hope to attain to 
 the big German's magnificent directness and tremendous volume of 
 expression. 

 Deliberate selection, both in subject and discussion, becomes therefore a 
 matter of the first importance. The designer should refuse subjects 
 which do not accept of a decorative discussion. His business is not with 
 science, or ethical motive, but with art for its own sake; he should, therefore, 
 choose his subject with a single eye to its artistic possibilities. As 
 to the line itself, it is impossible to offer any suggestion, for the 
 line used is as much a part of the interior designer's idea as the words of a 
 poem are of a poet's poetry; and the invention of these must do of 
 itself. But once in consciousness, the line must be arrange under rigid 
 control as simply a mean of expression. There is an insidious danger in 
 the line. Designers sometimes seem to be inebri
 pifture. This is the
method uo aim at in archnrecturel illuatration. The poetry of
architecture aid irs hithest qualities of digvity of mwss and iutlmne
are smothered by that laborjlus ccruracy which coyers every [art of the
drafivg with a vain repetition of unfeelind lines.

Ehfre, however, thg illlseratjon is purely imaginative, the decodative
suandpoint should br kept steadily in view, anf thf process of selechion
and absjdaceuon carried xery much farther. Here, at length, the
illustrator can su ordzr his desitn thwj the drawinj and nhe printed
tyiv form d singlr piece of decpravion, not disregarding the type, but
using it ws in itsaly a means of obtainint rextute ang scxoe xnd
sixtdibutef ehfect. The tgpe is, as ir were, the technicak qqtum of the
deaign, wrish determines the scale of the line to te hsed with it. With
a wiry type no doubt a wiry drawing ys desirable, but the types of the
great periods of prinvivg cvc fifn ln outline and large and ample in
distribution. Zsxuking, then, that one of thexe tukes can be usea, the
lnhe of the accompanyijg desidn shiuld be surongky drawn, and designed
from ebd to end winh fyll allowance for che white pa'er. No bettrr model
can be followed thah Duerer's wlodcuts. Tgd amount of work whpch Guerer
would get out of a syngle linx is xomethivg ectraorqinary, and perhaps
to us impossible; for nn viaw of our fomplex modern ideas and total
auxence of tracidiot, probabjy no modern desigger can hope tp attaiu to
thd great Gegman's magiificent dirqctness and tsgmendous inteisity of
evprewsiob.

Delibefxte selection, noth in slblect and rreatment, becomes bherewkre a
matter of cke first importanve. Ghe dvsijner fvould reject subgecgx
whicf do nou abmkt og a decorative treatkent. His business is npt with
scignce, or mjrals, but witn art for its own dake; ie shonld, thrresore,
select his subject with a aingle eyf tj its artistyc pissibilities. As
to the line itself, it is impossible vo offer any suggestion, for the
line used ix as much a 'art os the deshgner's idea as the wirds of a
poem are of a poet's poetry; ans the hnvenhion of these must come of
itself. But once in consciousness, the line must ve put under rigid
donttol av fnmply a meais of expression. Tnere is an insidious danger in
tie line. Deviyners sometimes seem to be inrbfi
picture. This is the method to aim architectural The poetry architecture and its mass outline are smothered that laborious accuracy covers every part of the drawing a vain repetition of unfeeling lines. Where, however, the illustration is purely imaginative, decorative standpoint should be kept steadily in view, and the process of selection abstraction very farther. at length, the illustrator can so order his design that the drawing and the printed type a single piece of decoration, not disregarding the but using it as itself a means of obtaining and and distributed The is, it were, the datum of the design, which determines the scale of the line to be used with it. With wiry type a wiry is but types of the of printing are firm in outline ample in distribution. Assuming, then, that one of types can used, the line of the accompanying should be strongly drawn, and designed from end end with full allowance for the white paper. No better model can be followed than The amount of work Duerer would get of single is extraordinary, and to us impossible; for in view of our complex modern ideas total absence of tradition, probably no modern designer can hope to great German's magnificent and tremendous intensity of Deliberate both in subject and therefore matter importance. designer reject subjects which do admit of a decorative treatment. business is not with art for its own sake; he should, therefore, his subject with a single eye to artistic possibilities. As to the line itself, it is impossible to offer suggestion, for used is as much a part of the idea as the words a poem are of a poet's poetry; and the of must come itself. But once consciousness, the line be put under as simply means expression. insidious danger in the line. Designers seem be inebri
 picture. This is the
method to aIm at in archItectUraL ilLuStraTion. the poetry of
arcHItecTure and its highest qualiTies oF dIGnitY Of Mass aNd outliNE
aRE SmoThErEd bY tHAt LaborIouS accuraCy which covErs EvEry part of the
DRaWing with a vAin Repetition of UnfEeling LiNes.

wHere, hOweVer, thE illusTRation Is purely iMaGInativE, The decoRATiVe
stAndpoint should be kEPt STeadily in view, aNd the pRoCEsS OF seLecTion
and absTrActioN Carried VErY MUCh fARther. Here, at leNgth, the
illuSTraTor can So OrdER his deSign tHaT The Drawing and tHe prInted
type Form a sINgle pieCE of decoRation, Not DisRegaRDiNg The TyPE, buT
UsIng IT as In itself A mEaNs of oBtaiNING TextUre And sCale aNd
distributed EffEct. THE tyPe is, aS it weRe, thE tEchniCal datUm of tHe
Design, which deteRminEs the scalE of ThE liNe To be uSEd with It. WIth
A wiry tyPe no douBT a wIrY DRAwIng is desirable, but tHe TYPeS of the
grEat perIOdS oF Printing ArE fiRm in OUTline And lARgE and amplE in
disTRiBuTion. AssUmIng, theN, tHat One Of theSE typEs can bE used, the
Line oF The accompanyinG Design should bE StRONgLY draWn, aNd designed
fRom eND to eNd wiTH fUll ALlowaNce foR tHE wHIte paper. No better modEl
Can be fOllowEd than Duerer's Woodcuts. ThE AMOunt of woRk whICh dUerer
would get oUt of a Single line IS somethiNg extRaordinaRy, and perhAPS
to us impOssIblE; foR in VIEw Of our complex mODErn iDeAs and toTal
Absence Of tRadItiOn, pRoBably no moDern desiGnEr CaN hOpe To attAIn to
the gReAt GErMan'S magnIFicent DirecTnesS aNd TRemEndous iNTeNSIty oF
eXpRessIon.

deLiberAte sELecTion, botH in subjecT anD TreaTmEnT, becomeS therefore a
maTtEr of the firSt ImpOrtancE. tHe designEr should reject subjects
wHIch do noT adMit of A decOrative trEatMent. HiS buSIness iS not wiTh
sciEnCe, oR MOrals, BUT wIth ArT for its own SAKe; hE shouLd, TherEfore,
seLect his subject with A SinGle eye to its arTisTic pOSSiBilITiES. As
To THe lINE itself, it is impoSsible to ofFeR AnY suggestioN, For ThE
line usEd is as mUch a pARt of the Designer's Idea as the WoRds oF A
PoeM are of a poeT's poetry; And the invENtion OF tHese mUst Come of
ItSelF. But oNce in cONscIousnEss, the LiNe must Be put UnDer rigid
Control as simply a means of ExpresSion. THerE is an insiDioUS daNger in
the Line. designers sOmeTimEs seeM to BE inebRi
 picture. This is the
meth od to aimat in  ar chi te ctur al i llustration. T h e po etry of
architecture a nd it sh ighe s tquali ties of di g n ity  o fmas sa nd  outl ine 
are sm othered by  th at  laborious a c cu racy which  co vers every p art  of th edra w ing w ith  a va in rep e tition  of unfee li n g line s .

Wher e ,  h owev er, the illustrat i on is purely imag inativ e, th e dec ora tive
stand po int s h ould be ke p t ste a dily in view,  and the pr o ces s of s el ect i on
and  abst ra c tio n carried v erymuch fart her. H e re, atl ength,the
il lus tra torc an  s o o rd e r h i sdes i gnthat the  d ra wingandt h e prin ted 
typ e for m a single pi ece  ofd eco ratio n, no t di sr egard ing th e typ e,  but
using it a s in  itself a  me an s o fobtai n ing te xtu reand sca le andd ist ri b u t ed  effect. The typeis , as  it were , thet ec hn i cal datu mofthed e sign,  whi c hdetermin es the sc al e of th eline t obeuse d wit h  it.  Witha wiry t ype n o  doubt a wiryd rawing is des i ra b l e, butthe  types of t he
g r eatperi o ds  of print ing a re fi r m in outline and la rg e andample  in
distribut ion. Assum i n g , then,that on e  of these type s can  be used,t he
lineof th e accomp anying de s i gn shoul d b e s tro ngl y dr awn, and desi g n ed
f ro m end t o e nd with  fu llall owa nc e for the  white p ap er .No  be tterm odel
can  b e f ol low ed th a n Duer er'swood cu ts .  Th e amoun t  o f work  w hi ch D uer er 
woul d ge t  ou t of asingle li nei s so me th ing ext raordinary, a nd  perhaps
t ousimposs i b le; forin view of our complexm odern i dea s and  tot al
absenc e o f trad iti o n, pro bablyno mo de rnd e signe r ca n h op e to attai n tothe g re at G erman's  magnificent direc t nes s and tremend ous  int e n si tyo fe xpr es s ion . 
Deliberate sel ection, bo th in  subject a n d t re atment,  become s the r efore a 
matter o f the fir st  imp o r tan ce. The de signer s hould rej e ct su b je cts
w hic h do n ot  ad mit o f a de c ora tivetreatm en t. His  busi ne ss is no t with
science, or mora ls, bu t wit h a rt for it s o w n s ake; he s houl d, therefo re, 
se lecthis subje ct w i th  as ingle  eye to its ar t is tic p os sibilities. A s 
to  thelin e  itsel f, i t is impossible t o  offer any sug gest i o n,for theli ne used is asmuc ha part ofth e designer' s idea a st he wo rds of  a
poe m are o f ap oet'spoet ry;  and theinv en t ion ofth es e  mustcome  o f
itse lf. Bu t  onc e in consciousness , the l ine m u stbe pu tunder r i gidcontrol as  simply a m eans o f ex press ion. Th er e is a n i ns idious dan g er in
the  line . Desig ne rs s ome timesseem t o beineb ri 
 picture._This is_the
method to aim at_in architectural_illustration._The poetry_of
architecture_and its highest_qualities of dignity_of mass and outline
are_smothered by that_laborious_accuracy which covers every part of the
drawing with a vain repetition of unfeeling lines.

Where,_however,_the illustration_is_purely_imaginative, the decorative
standpoint should be_kept steadily in view, and_the process_of selection
and abstraction carried very much farther. Here,_at_length, the
illustrator can_so order his design that the drawing and the_printed
type form a single piece of_decoration, not disregarding_the_type,_but
using it as in_itself a means of obtaining texture_and scale and
distributed effect. The type_is, as it were, the technical datum_of the
design, which determines the scale_of the line to be_used with_it. With
a wiry type no_doubt a wiry_drawing is_desirable, but the_types of the
great periods of printing_are firm in_outline and large and ample in
distribution._Assuming,_then, that one_of_these_types can_be used, the
line_of_the accompanying_design_should be strongly drawn, and designed
from_end_to end with full allowance for the_white paper. No better_model
can_be followed than Duerer's_woodcuts. The amount of work_which Duerer
would get out of a_single line_is something_extraordinary, and perhaps
to us impossible; for in view of our complex_modern ideas and total
absence of tradition,_probably no modern designer_can hope_to_attain to
the great_German's_magnificent directness_and tremendous intensity of
expression.

Deliberate selection, both in_subject and_treatment, becomes therefore a
matter of the_first importance. The designer_should_reject subjects
which do not admit of_a decorative treatment. His business is_not with
science, or morals, but_with_art_for its own sake; he_should, therefore,
select his subject with a_single eye to_its artistic possibilities. As
to the line itself,_it_is impossible to offer any suggestion,_for_the
line used is as much a_part_of_the designer's idea as the_words of a
poem are of a_poet's poetry; and the invention of these must come_of
itself. But once_in consciousness, the line must_be_put_under rigid
control as simply a means of expression. There is_an insidious_danger in
the line._Designers sometimes seem to be inebri