See also:drawing, more especially when made as a
See also:guide for the execution of
See also:work; that side of drawing which deals with arrangement rather than
See also:representation; and generally, by
See also:analogy, a deliberate planning, scheming or purpose .
See also:Modern use has tended to associate design with the word " ofiginal " in the sense of new or abnormal . The end of design, however, is properly utility, fitness and delight . If a
See also:discovery, it should be a discovery of what seems inevitable, an inspiration arising out of the conditions, and parallel to invention in the sciences . The
See also:faculty of design has best flourished when an almost spontaneousdevelopment was taking place in the arts, and while certain classes of arts, more or less
See also:noble, were generally demanded and the demand copiously satisfied, as in the production of Greek vases,
See also:Byzantine mosaics,
See also:Gothic cathedrals, and
See also:Renaissance paintings . Thus where a " school of design " arises there is much general likeness in the products but also a general progress . The
See also:common experience—" tradition "—is a
See also:part of each artist's stock in
See also:trade; and all are carried along in a stream of continuous exploration . Some of the arts, writing, for instance, have been little touched by conscious originality in design, all has been progress, or, at least,
See also:change, in response to conditions . Under such a
See also:system, in a
See also:time of progress, the proper limitations react as intensity; when limitations are removed the designer has less and less upon which to react, and unconditioned liberty gives him nothing at all to lean on . Design is response to needs, conditions and aspirations . The Greeks so well understood this that they appear to have consciously restrained themselves to the development of selected types, not only in architecture and literature, but in domestic arts, like pottery . Design with them was less the new than the true .
For the production of a school of design it is necessary that there should be a considerable
See also:body of artists working together, and a large demand from a sympathetic public . A
See also:process of continuous development is thus brought into being which sustains the individual effort . It is necessary for the designer to know familiarly the processes, the materials and the skilful use of the tools involved in the productions of a given
See also:art, and properly only one who practises a craft can design for it . It is necessary to enter into the traditions of the art, that is, to know past achievements . It is necessary, further, to be in relation with nature, the
See also:reservoir of ideas, for it is from it that fresh thought will flow into all forms of art . These conditions being granted, the best and most useful meaning we can give to the word design is exploration, experiment,
See also:consideration of possibilities . Putting too high a value on originality other than this is to restrict natural growth from vital roots, in which true originality consists . To take design in architecture as an example, we have rested too much on definite precedent (a different thing from living tradition) and, on the other
See also:hand, hoped too much from newness . Exploration of the possibilities in
See also:arches, vaults, domes and the like, as a chemist or a mathematician explores, is little accepted as a method in architecture at this time, although in antiquity it was by such means that the great
See also:works were produced: the
See also:Sophia, Durham and
See also:Amiens cathedrals . The same is true of all forms of design . Of course the
See also:genius and inspiration of the individual artist is not here ignored, but assumed . What we are concerned with is a mode of thought which shall make it most fruitful .
(W . R .
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