See also:

• DESIGN (Fr. desiin, drawing; Lat. designare, to mark out)

DESIGN (Fr. desiin, See also:

• DRAWING

drawing; See also:

• LAT

Lat. designare, to See also:

• MARK
• MARK, CARL (1858– )
• MARK, GOSPEL OF ST
• MARK, ST

mark out)  , in the arts, a See also:

• DRAWING

drawing, more especially when made as a See also:

• GUIDE (in Mid. Eng. gyde, from the Fr. guide; the earlier French form was guie, English " guy," the d was due to the Italian form guida; the ultimate origin is probably Teutonic, the word being connected with the base seen in O. Eng. witan, to know)

guide for the See also:

• EXECUTION (from Lat. ex-sequor, exsecutus, follow or carry out)

execution of See also:

• WORK

work; that See also:

• SIDE
• SIDE (mod. Eski Adalia)

side of drawing which deals with arrangement rather than See also:

• REPRESENTATION

representation; and generally, by See also:

• ANALOGY (Gr. avaXo-yLa, proportion)

analogy, a deliberate planning, scheming or purpose . See also:

• MODERN

Modern use has tended to See also:

• ASSOCIATE (Lat. associates, from ad, to, and sociare to join)

associate See also:

• DESIGN (Fr. desiin, drawing; Lat. designare, to mark out)

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

discovery, it should be a discovery of what seems inevitable, an See also:

• INSPIRATION (Lat. inspirare, breathe upon or into)

inspiration arising out of the conditions, and parallel to invention in the sciences . The See also:

• FACULTY (through the French, from the Lat. facultas, ability to do anything, from facilis, easy, facere, to do; another form of the word in Lat. facilitas, facility, ease, keeps the original meaning)

faculty of design has best flourished when an almost spontaneousdevelopment was taking See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place in the arts, and while certain classes of arts, more or less See also:

• NOBLE, SIR ANDREW (1832- )

noble, were generally demanded and the demand copiously satisfied, as in the See also:

• PRODUCTION (Lat. productionem, from producere, to pro-duce)

production of See also:

• GREEK
• GREEK, ETRUSCAN AND

Greek vases, See also:

• BYZANTINE

Byzantine mosaics, See also:

• GOTHIC

Gothic cathedrals, and See also:

• RENAISSANCE, THE

Renaissance paintings . Thus where a " school of design " arises there is much See also:

• GENERAL
• GENERAL (Lat. generalis, of or relating to a genus, kind or class)

general likeness in the products but also a general progress . The See also:

• COMMON

common experience—" tradition "—is a See also:

• PART

part of each artist's stock in See also:

• TRADE (O. Eng. trod, footstep, from tredan, to tread; in M. Eng. the forms teed, trod and trade appear, the last in the sense of a beaten track)
• TRADE, BOARD OF

trade; and all are carried along in a stream of continuous exploration . Some of the arts, See also:

• WRITING
• WRITING (the verbal noun of " to write," O. Eng. writan, to inscribe)

writing, for instance, have been little touched by conscious originality in design, all has been progress, or, at least, See also:

• CHANGE (derived through the Fr. from the Late Lat. cambium, cambiare, to barter; the ultimate derivation is probably from the root which appears in the Gr. «a urmu', to bend)

change, in response to conditions . Under such a See also:

• SYSTEM

system, in a See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

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 See also:

• LIBERTY (Lat. libertas, from liber, free)

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 See also:

• ARCHITECTURE (Lat. architectura, from the Gr. ap)(LTEKrwv, a master-builder)

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

body of artists working together, and a large demand from a sympathetic public . A See also:

• PROCESS

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

art, and properly only one who practises a See also:

• CRAFT (a word common to Teutonic languages for strength, or power; cf. Ger. Kraft)

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:

• GREAT

great See also:

• RESERVOIR

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 (from Lat. considerare, to look at closely, examine, generally taken to be from con-, and the base seen in sidus, sideris, a star, the word being supposed to be originally an astrological or astronomical term)

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
• HAND (a word common to Teutonic languages; cf. Ger. Hand, Goth. handus)
• HAND, FERDINAND GOTTHELF (1786-185r)

hand, hoped too much from newness . Exploration of the possibilities in See also:

• ARCHES, COURT OF

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:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master-See also:

• WORKS

works were produced: the See also:

• PANTHEON (Lat. pantheum or pantheon; Gr. srav& ov, all-holy, from re, s, all, and Oeor god)

Pantheon, See also:

• SANTA

Santa See also:

• SOPHIA (1630-1714)

Sophia, See also:

• DURHAM
• DURHAM, JOHN GEORGE LAMBTON, 1ST EARL OF (1792–1840)

Durham and See also:

• AMIENS

Amiens cathedrals . The same is true of all forms of design . Of course the See also:

• GENIUS (from Lat. genere, gignere)

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 .