NATURE'S AID TO DESIGN BY LOUISE W. BUNCE AND E. S. D. OWEN JOHN i A s£ COMPANY '"■ .■"■■ CORNELL"; UNIVERSITY LIBRARY FINE ARTS LIBRARY NK1560.O97 e " Un ' VerS " yUbrary Nature's aid to design iiiir 3 1924 020 578 252 DAT E DUE RINTEDIN U.S./ NATURE'S AID TO DESIGN NATURE'S AID TO DESIGN By E. S. D. OWEN AND LOUISE W. BUNCE COMPRISING ONE HUNDRED AND FIFTEEN HALF-TONE REPRODUCTIONS FROM PHOTOGRAPHS JOHN LANE COMPANY, NEW YORK MCMVII COPYRIGHT, 1907 By JOHN LANE COMPANY LIST OF PLATES Plate I. — Amaryllis. Flower, red or striped; leaf, light green. Plate II. — Apple Blossom. Flower, white and pink and white; bud, bright pink; leaf, bright, glossy green, gray on back; stem, dull brown, knotted and woody. Plate III.— Azalea (wild). Flowers, pink with brilliant red tubes; leaf, flat, dark green. Plate IV.— Azalea (wild). Flower, white; leaf, dark green with whitish back. Plate V. — Bean (Scarlet Runner). Flower, scarlet; leaf, flat, gray green. Plate VI. — Bloodroot. Flower, white with bright yellow center; leaf, dark green with light backs. Plate VII.— Calla. Flower, white with yellow spadix; leaf, shiny blue green. Plate VIII.— Camelia. Flower, white, pink and red; leaf, dark and shiny. Plate IX. — Carnation. Flower, pink, white, yellow and striped; leaf, sage green. Plate X. — Carrot (wild). Flower, white with narrow dot in each small umbel; leaf, dull green. Plate XI. — Cineraria. Flower, magenta, purple, white and pink; leaf, blue green. Plate XII. — Clematis. Flower, white, purple, lavender; leaf, dull green. Plate XIII. — Clintonia. Flower, green yellow; leaf, bright yellow green. Plate XIV.— Cobea. Flower, green, changing to purple; leaf, bright green; tendril, bright red. Plate XV. — Columbine. Flower, yellow petals with red spur; leaf, soft yellow green. Plate XVI. — Coreopsis. Flower, yellow and maroon with brown centers; leaf, common green. Plate XVII.— Cosmos. Flower, pure white, pink, lavender and lemon yellow; bud, bright green, close sheathed; leaf fragile. Plate XVIIF— Cyclamen. Flower, white, crimson and pink; stem, wine color; leaf, covered with pale veining over dark green with red edges. Plate XIX. — Daffodil (double). Flower, yellow with orange center; leaf, bright yellowish green. Plate XX. — Daffodil (single). Flower, large sulphur yellow with deep yellow cup; sheath of light brown; leaf, bright blue green. Plate XXI. — Dahlia (quilled). Flower, all colors but blue ; leaf, dark cool green. Plate XXII.— Dogwood. Flower, white, green center, indentation on edge of each petal wine color; leaf, yellow green, coming later than bloom. Plate XXIIF— Fern. Leaf, light yellow green; stem, brown at the base. Plate XXIV. — Four-o'clock. Flower, yellow, white, pink and variegated; leaf, dull green. Plate XXV. — Gentian (closed or blind). Flower, deep sapphire blue ; leaf, rich green. Plate XXVI.— Gentian (fringed). Flower, sky blue, shading to white at base; leaf, inconspicuous. Plate XXVII. — Geranium (Martha Washington). Flower, pink and white, strongly marked with wine color; leaf, dull yellow green, more or less hairy. Plate XXVIII. — Geranium (common single variety). Flower, white and all the different shades of pink and red; leaf, dull green, sometimes marked with darker green, red or white ; downy texture. Plate XXIX. — Goldenrod (common). Flower, bright yellow; leaf, dark green with lighter green stems and buds. Plate XXX.— Grass (Swamp No. i). Seed vessels, bright olive green; leaf, less yellow and shiny; stem, three-sided. Plate XXXI.— Grass (Swamp No. 2). Flower, cinnamon brown and woody; leaf and stem, dull green. Plate XXXII. — Horse-Chestnut. Flower, cream white, spotted with red; leaf, glossy rich green. Plate XXXIII.— Hyacinth (Dutch). Flower, all colors; leaf, grass green. Plate XXXIV.— Hydrangea (shrub). Flower, green, turning to white, blue or pink; leaf, shiny dark green. Plate XXXV.— Iris (blue flag). Flower, violet blue with yellow in center; leaf, gray green. Plate XXXVL— Iris (fleur-de-lis). Flower, white, lavender to purple, yellow and variegated; outer divisions of flower generally of darker blue, ornamented with bearded crest in yellow; leaf, blue green. Plate XXXVII. — Jack-in-the-Pulpit. Flower, tiny green yellow, clustered on lower part of a shiny green or maroon spadix, within a green and maroon or whitish striped spathe ; leaf, dark green, shiny. Plate XXXVIII. — Japanese Quince (shrub). Flower, red, pink and white, with yellow center; leaf, smooth, dark green, following flower; branches, gray brown and thorny. Plate XXXIX. — Jonquil (narcissus, small). Flower, Chinese yellow; leaf, gray green. Plate XL. — Laurel (shrub). Flower, bud and new flower bright pink, afterward fading to white ; stamens tipped with rose ; leaf evergreen, young leaf apple green, turning to dark, glossy ; branches, warm brown. Plate XLI. — Lily (Easier or Bermuda). Flower, cream white, waxy ; anthers, yellow; pistil, green ; buds, greenish; leaf, glossy green. Plate XLII. — Lily of the Valley. Flowers, white, small and bell shaped ; leaf, strong, green and smooth ; bleached by leaf sheath. Plate XLIII. — Lily (wild, yellow). Flower, yellow, spotted with brown ; leaf, dull green. Plate XLIV.— Lilac (purple, bush). Flower, lilac with purple buds; leaf, dull green. Plate XLV. — Lilac (while, bush). Flower, cream white, greenish bud; leaf, dark green. Plate XL VI— Lupine. Flower, violet, blue, rarely pink or while; leaf, Hal, green. Plate XLVII. — MAGNOLIA (purple, shrub or tree). Flower, ( ream white with purplish center; pel als shading on I he outside to purple ; leaf, glossy, dark green, following flowers. Plate XLVIIL— Magnolia (great leaved tree). Flower, cream while; leaf, smooth dark green, lighter beneath. Plate XLIX— Marigold. Flower, yellow, orange to mahogany, with back of petals usually lighter, dark center; leaf, glossy dark green above, light below. Plate L. — Narcissus (paper). Flower, white ; brown sheath; leaf, blue green. Plate LI. — Narcissus (poet's). Flower, white, with short yellow cup, edged with red; leaf, blue green. Plate LII. — Nasturtium. Flower, various shades of red, yellow and brown, also pink; leaf, bright green, lighter under- neath. Plate LIII. — Orchis (hothouse). Flower, lilac pink with maroon center; leaf, gray green, smooth; stem conspicuously jointed. Plate LIV. — Painter's Cup (painter's brush). Flower, greenish yellow, enclosed in scarlet bracts; calix usually green ; leaf, yellowish green. Plate LV. — Sweet Pea (vine). Flower, all colors and variegated; leaf and tendrils cool green. Plate LVL— Pear (tree). Flower, white ; stamen, brown ; leaf, shiny olive green; branches, brown. Plate LVII. — Peony, Double (shrub). Flower, pink, crimson and white ; leaf, glossy dark green. Plate LVIII. — Periwinkle (evergreen trailer). Flower, violet, blue and white; leaf, dark green and glossy; sometimes variegated with yellow. Plate LIX. — Pipsissewa (spotted). Flower, white, with greenish center; leaf, dull green, marked gray along the veins; back of leaf and stem reddish. Plate LX. — Portulaca. Flower, white, yellow, pink and red, yellow center ; leaf, fleshy and gray green ; stem, reddish. Plate LXI. — Potato Vine. Flower, white with yellow center; leaf, shiny green. Plate LXII. — Primrose (bird's-eye). Flower, pale lilac with yellow eye ; leaf, silvery green, in tufts. Plate LXIII .— Rose (Killarney). Flower, delicate pink; leaf, medium green, glossy. Plate LXIV.— Rose (Mermet). Flower, pink, shading to straw color; leaf, medium green, glossy; stem, reddish. Plate LXV.— Rose (Ulrich Brunner). Flower, crimson, very double, with petals much lighter on under side; leaf, blue green; stem, green. Plate LXVI. — Saxifrage. Flowers, dull white ; leaf, downy dull green, in rosettes at base of plant ; stem, downy pale green. Plate LXVII. — Skunk Cabbage. Flower, minute, scattered over thick, fleshy spadix and hidden within a shell-shaped purplish brown to greenish yellow mottled spathe. Plate LXVIII. — Smilax (vine). Flower, minute, greenish white; leaf, bright shiny green. Plate LXIX. — Snowberry (bush). Flower, minute pink; leaf, medium dull green; fruit, pure white, waxy, with brown spot at flower end ; branches, cinnamon brown. Plate LXX. — Spirea {hard-hack). Flowers, pink; buds, brownish; leaf, dark green above, lighter and coated with wool beneath. Plate LXXI. — Spirea (cultivated). Flower, white, minute, in dense clustered spikes; leaf, glossy light green. Plate LXXII. — Squash (vine). Flower, rich yellow; leaf, medium green, rough; stem and tendrils lighter. Plate LXXIII. — Sunflower. Flower, bright yellow rays, with dark center, composed of minute blossoms ; leaf, bright Teen, hairy. Plate LXXIV.— Sweet-Fern (shrub). Flower, stiff catkins, olive brown; leaf, fernlike, dark green; stems brown. Plate LXXV.— Tansy. Flower, small, round, yellow flower heads in flat-topped bunches; leaf, fresh light green. Plate LXXVL— Thistle. Flower, light purple ; leaf, dark green, with sharp spines, the lower leaves forming a rosette. Plate LXXVII— Trillium. Flower, red, white or white striped with pinkish purple at the base ; three petals, with three spreading sepals ; leaf, a whorl of three broad leaves. Plate LXXVIIL— Tulip Tree. Flower, greenish yellow, strongly marked with orange, with straw-colored center; pistils forming a sort of cone; leaf, bright glossy green; branches, gray. Plate LXXIX. — Umbrella Plant (hothouse). Flower, minute, in tan clusters, growing from the base of the whorl of leaves; leaf, grasslike, in whorls about the top of the stem. Plate LXXX. — Rosette {umbrella plant). Plate LXXXI. — Violet (pedate or bird's-joot). Flower, from deep purple to white, petals like a pansv; leaf, medium green. Plate LXXXIL— Willow (tree). Catkins; silvery gray with dark brown sheath, preceding leaf; branches, reddish brown. Plate LXXXIIL— Wistaria. Flower, from purple to white ; leaf, light green with silvery backs; young leaves and stems incli- ning to reddish brown. Plate LXXXIV. — Detail of Wistaria. Plate LXXXV.— Zinnia. Flower, rays white and the various shades of red to yellow; true flowers forming center usually yellow; leaf, dull green, rough; stem, hairy. NATURE'S AID TO DESIGN NATURE'S AID TO DESIGN By E. S. D. OWEN and LOUISE W. BUNCE NATURE sets before us multitudes of simple forms from which to study, and has done so from the first seen lotus and papyrus to the last discovered botanical specimen, but, if we do not show her truthful elements of growth, in no mat- ter what species, be they bulbous or weedy, we have slandered Nature and succeeded in present- ing only worthless design. To illustrate our point, we could mention the case of a student at one of our schools, who, being required recently to submit in class a Dutch land- scape from memory, brought in a sketch, good in color, in perspective, in detail as to placing of figure 2 houses and indispensable windmills, but with a tree whose inspiration was the American elm. The comment of his teacher was, "You should study Nature." It is not possible for all of us to go to Nature in the fields, but Nature may come to us. With such aid as is here offered, a moment's search will yield the material sought for, and the artist, with all the inspiration he needs, can work out his conventionalized design untrammeled. An instructor's idea of proper growth, based on long familiarity and experience in the studv of his subject, is sufficient oftentimes to his needs, but how about those in the class who are in the alphabet of experience, and the designer whose subjects for study are far from his workshop and needed immediatelv for composition? Should not Nature, in exact reproduction, be brought to them? Any photographic work up to the present time has failed, in that the pictures are taken from either a photographer's or an amateur's point of view merely, without thought as to the artistic working possibilities. With an artist at the camera, thoroughly understanding the work, the light so arranged as to bring out all that is to be found in form and texture, the whole object takes on individuality, a living, glowing, absolute help, not a something which only suggests. The suggestive element in any specific treatment may always come in its proper place, according to the ability and inspiration of the worker. The method thus used of perfect reproduction, as we introduce it here, appeals already to artists, art teachers and de- signers who are seeking for such tangible material. J0** There is a great need in our art schools of authentic copy: flowers » and flower forms from which to design for all artistic trade use. One needs a reference, without the delay of seeking the real flower, generally figtjee 3 not procurable on the instant, which reference would prevent the painful Nature's Aid to Design FIGURE 4 mistakes so often made through ignorance of details. An example of such error may be found in a design of a rose with violet leaves and a blackberry stem, recently brought to our notice. Inasmuch as it is impossible for the student, still less the graduate worker, to fare forth after the very forms he hungers to adapt, the value of this material becomes ap- parent. In contrast to the ignorant method of design alluded to above, turn to the bloodroot, as illustrated in Fig. 5, filled to the brim with suggestion for design ; its blossom standing as Nature planned, a perfect tile, its sheathed leaf growth and mature leaf full of good form and artistic possibilities, and its bud the near kin, in miniature, of the Egyptian lotus. There is abundant material for idealization or actual repeat in any of its component parts. The lady's-slipper, Figs. 6 and 7, and the tulip, Fig. 8, still further convince us how necessary it is to know the proper growth of these two plants to reproduce them correctly. How rich each is in suggestion for design! If we take up the study of the lily, a flower familiar to all art workers, we find, as shown in the fore- going illustration, No. 1, the opportunity for design from any one of its parts, and the camera aids us to reproduce those parts and bring them within reach of the art student or designer correctly. Referring again to the lily and to Fig. 2, what is more beautiful, suggestive and applicable to artistic treatment than the simple and masterful grace of its growth, and what more necessary in art production than that the form, whether in natural or conventional treatment, should be preserved truthfully? Figures 3 and 4 but enlarge the point we make ; Fig. 4, a cross section of the stem, especially suggesting rosette ornament, which reaches as well into textile design, silks and other printed materials, book covers and wall paper, as into ceramic art and finally into the realm of the worker in stained glass and metal. Bearing in mind and referring continually to the illustrative photographs, study for a moment behind the presented picture to dis- cover the value of the skeleton as absolutely necessary for work in design, and see in the accompanying plates the wonderful oppor- tunity for building up, according to the arti- san's originality, design suggested by Nature's mere framework. One has but to compare these presented possibilities with the copy set in art schools of the present, both in kinder- garten and advanced classes, to realize their worth. Observe a pupil studying for the first time in the object class. He may and does find it a comparatively simple matter to draw a form bending to left or right in his com- position, but his pencil is stopped when he tries to make a leaf or flower bend toward 3ggGuraa^H|nHUHH ^* I^jA/fl m l\ wi^ -f ^Ms v\jjj^' m yk \^ Mb AT ImwA ^4 WL. , FIGURE S Nature s Aid to Design FIGURE 8 him — that is, out of the flat. Let him refer to the photograph, study it with the object, and his difficulty is solved, for there, on the flat, by aid of the natural shadow, stands out his form, and he has but to study it to master thoroughly the difficulty. One cannot lay too much stress on the value of such help, as will be apparent to any who have had similar struggles — saving of brain fatigue, discouragement and despair to the faithful student' Note Fig. 8: not only does the photograph push forward the leaf in high light, but also, by its depth of shadow, it sends back the growth of that same leaf at its stem; result — form, perspective, high light and shadow from a leaf whose inner edge lies almost along the plane while its outer edge stands well out of the flat. The value to the student is apparent and the work indispensable. There are a thousand such proofs that Nature's material is unlimited. As an example of this, turn from any one of the foregoing plates to Fig. y, and see at once the paperlike texture shown in this photograph of the jonquil. And here comes a new field of study, texture. We have spoken of the value of form and perspective. It is quite as necessary to reproduce texture correctly, for the sake of the flower when working in black figure 6 FIGURE 9 N at lire s Aid to Design and white, but preeminently for the sake of variety in design when working in color. That photography is necessarily art we do not say, but as a wonderful help to the tottering footsteps, leading to art's high places, we bespeak the importance of such reproductions. In art we must seek for that which makes our picture, or design, with the fewest lines, that which tells our wonderful tale in the fewest words. Every stroke we need we shall find in the photograph just as surely as we shall in the actual flower; only we have it trapped, as it were, for our constant help to be sought and used when we wish. These varied arguments but go to prove, over and over again, the importance of Nature brought home in perfect detail. Study and memory do not avail ; we may store our minds with what valuable data they may contain concerning forms within our reach, and still our lives would not be long enough, even could our knowledge be so great, as to embrace the material offered us with each season and climate. Nature must come to us from bud to seed pod and be at all times within our grasp. 'S. 13 T3 ■^ A Kature's Aid to Design Plate II.— APPLE BLOSSOM Nature's Aid to Design Plate III.— AZALEA (wild) Nature's Aid to Design Plate IV.— AZALEA (wild) Nature's Aid to Design Plate Y.-BEAX (Scarlet Runner) Nature s Aid to Design Plate VI— BLOODROOT Nature's Aid to Design Plate VII .— CALLA Nature's Aid to Design Plate VIII— CAMELIA Nature's Aid to Desi gn Plate IX.— CARNATION Nature's Aid to Design Plate X.— CARROT (wild) r / Nature's Aid lo Design Plate XL— CINERARIA Nature's Aid to Design Plate XII.— CLEMATIS nut Nature's Aid to Desi gn Plate XIII. — CLINTON IA Nature's Aid to Design Plate XIV— COBEA Nature's Aid to Design Plate XV.— COLUMBINE \ \r 1/ >* Nature's Aid to Design Plate XVI— COREOPSIS Missing Page Nature s Aid to Design Plate XVIII— CYCLAMEN Nature's Aid to Design Plate XIX.— DAFFODIL (double) Nature's Aid to Design Plate XX.- DAFFODIL (single) Nature 's Aid lo Design Plate XXI— DAHLIA {quilled) Nature's Aid to Design Plate XXII —DOGWOOD Nature's Aid to Design Plate XXIII.— FERN Nature's Aid to Design Plate XXIV. -FOUR O'CLOCK Nature's Aid to Design Plate XXV —GENTIAN {closed) Nature's Aid to Design Plate XXVI.— GENTIAN (fringed) x v,i Nature's Aid to Design Plate XXVII.— GERANIUM [Martha Washington) Nature's Aid to Design Plate XXVIII.— GERANIUM (single variety) Nature's Aid to Design Plate XXIX .— GOLDENROD (common) Nature's Aid to Design Plate XXX— GRASS (Swamp No. i) Nature's Aid to Design Plate XXXI— GRASS (Swamp No. 2) Nature's Aid to Design Plate XXXII— HORSE-CHESTNUT Nature's Aid to Design Plate XXXIII —HYACINTH {Dutch) * Nature's Aid to Design Plate XXXIV.— HYDRANGEA (shrub) Nature's Aid to Design Plate XXXV— IRIS {blue flag) Nature's Aid to Desi S" Plate XXXVI.— IRIS (fleur-de-lis) Nature's Aid to Design Plate XXXVII— JACK-IX-THE-PULPIT Nature's Aid to Design Plate XXXVIII. —JAPANESE QUINCE (shrub) Nature's Aid to Design Plate XXXIX.— TOXQUIL [narcissus, small) Nature's Aid to Dcsi g» Plate XL.— LAUREL (shrub) Nature's Aid to Desi gn Plate XLI. LILY (Easter or Bermuda) Nature's Aid to Design Plate XLII.— LILY OF THE VALLEY Nature's Aid to Desi gn Plate XLIIL— LILY {wild, yellou^) Nature's Aid to Design Plate XLIV.— LILAC {purple, bush) Nature's Aid to Design Plate XLV.— LILAC (white, bush) Nature's Aid to Design Plate XLVL— LUPINE Nature's Aid to Design Plate XLVTL— MAGNOLIA {purple, shrub or tree) < I— I J o 2; o < > < Nature's Aid to Desi gn Plate XLIX— MARIGOLD Nature's Aid to Design Plate L— NARCISSUS {paper) 6b Nature's Aid to Design Plate LI —NARCISSUS {ports) t V Nature's Aid to Design Plate LIL— NASTURTIUM Nature's Aid to Design Plate LIII— ORCHIS (hothouse) Nature's Aid to Design Plate LIV— PAINTER'S CUP (painter's brush) Nature's Aid to Design Plate LV— SWEET PEA (vine) Nature's Aid to Desi gn Plate LVI .— PEAR (tree) Nature's Aid to Design Plate LVH— PEONY, DOUBLE (shrub) Nature's Aid to Design Plate LVIIL— PERIWINKLE {evergreen trailer) Nature's Aid to Design Plate LIX— PIPSISSEWA {spotted) Nature's Aid to Design Plate LX.— PORTULACA Nature's Aid to Design Plate LXI -POTATO VINE Nature's Aid to Design Plate LXIL— PRIMROSE (bird's-eye) Nature's Aid to Design Plate LXIIL-ROSE, KILLARNEY Nature's Aid to Desi gn Plate LXIV.— ROSE, MERMET Nature's Aid to Des sign 'late LXV —ROSE, ULRICH BRUNNER 1 Nature's Aid to Design Plate LXVL— SAXIFRAGE Nature's Aid to Design Plate LXVII.-SKUNK CABBAGE 4 ferT Nature's Aid to Design Plate LXVIIL— SMILAX (vine) C- Nature s Aid to Design Plate LXIX— SNOWBERRY (6mjA) Nature's Aid to Design Plate LXX— SPIREA (hardhack) ^^TPiH s^lpp^ I Nature's Aid to Design Plate LXXL— SPIREA {cultivated) ip^fcj^ L_ Nature's Aid to Design Plate LXXIL— SQUASH (vine) Nature s A id to Design Plate LXXIIL— SUNFLOWER Nature's Aid to Design Plate LXXIV.— SWEET-FERN (shrub) Nature's Aid lo Design Plate LXXV— TANSY A "l ll i i JTfc T* ** .'. 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