Line and Form (1900) 线条与形式 Walter Crane
《Line and Form》是英国艺术家书籍插画家Walter Crane在1900年出版的一本小书。和William Morris一样，克莱恩同样热衷于社会主义理想（socilist, 此社会主义非彼社会主义）。1898年克莱恩曾短期担任英国皇家艺术学院（RCA）的院长，这是他把给学生的讲义整理出来一本书。
这应该是《Design as Art》之外另一本很值得译出中文版的书，感谢古登堡图书计划能将它数字化并共享出来。真的不过时，有些看起来似乎理所应当，但是，神は細部に宿る（杉浦先生大好き。
越来越觉得翻译真是一件很痛苦的事情（也许是因为看着克莱因的英文就很怀念Joseph Conad和George Orwell的文笔哈哈，但还是坚持把笔记译出来了。比起写作者和共享者，这点辛苦算什么。先三章。
第一章 Origin and Function of Outline 轮廓的源起和功能 第二章 the Language of Line 线条的语言 第三章 the Choice and the Use of Line 线条使用的选择 第四章 the Choice of Form 形式的选择 第五章 the Influence of Controlling Lines, Boundaries Spaces, and Plans in Designing 设计中控制线、边界空间和规划图的影响 第六章 the Fundamental Essentials of Design: Line, Form, Space 设计的关键：线条，形式，空间 第七章 the Relief of Form 形式的凸现 第八章 the Expression of Relief in Line-drawing 线条绘画表达凸现 第九章 the Adaptation of Line and Form in Design, in various materials and methods 设计中的线条和形式与各种材料方法的匹配 第十章 the Expression and Relief of Line and Form by Colour 线条与形式的色彩表达及凸现 1 ………….. To define the boundaries of such forms becomes the main object in early attempts at artistic expression. The attention is caught by the edges—the shape of the silhouette which remains the paramount means of distinction of form when details and secondary characteristics are lost; 在早期艺术表现的尝试中确定形式的界限是主要任务。注意力被物体的边缘吸引，剪影的轮廓是区分形式的首要方法，细节和次要特征均被忽略。 Writing, after all, is but a simpler form of drawing, and we know that the letters of our alphabet were originally pictures or symbols. The main difference is that writing stops short with the acquisition of the purely useful power of forming letters and words, and is seldom pursued for the sake of its beauty or artistic qualities as formerly; while drawing continually leads on to new difficulties to be conquered, to new subtleties of line, and fresh fascinations in the pursuit of distinction and style. 写字归根到底是绘画较简单的一种形式，我们字母表中的字母最初是图画或符号。绘画与字母的主要区别是，写字很快止步于获得组词造句的纯粹使用功能，几乎不再像从前那样追求它的美或艺术特性；而绘画则始终导向新的需要被征服的难题，新的更精致的线条，追求差异与风格的新奇。 They have been reduced through centuries of use from their primitive hieroglyphic forms to their present arbitrary and fixed types, though even these fixed types are subject to the variation produced by changes of taste and fancy. 经过几个世纪的使用，它们从原始的象形文字形式简化为现在多种固定字体，尽管这些固定字体也受到品味和喜好的变化所影响。 This might be termed the calligraphic method of drawing; and in this method facility of hand might be further practised by attempting the definition of forms by continuous strokes, or building it up by as few strokes as possible. The simpler types of ornament consisting of meandering and flowing lines can all be produced in this way, i.e. by continuous line, as well as natural forms treated in a certain abstract or conventional way, which adapts them to decoration. 书法绘画方法；通过连续笔划或尽可能少的笔划确定形式的方法练习手的灵巧。由蜿蜒和流动的线条组成的简单类型的装饰都可以以这种方式绘成，例如，连续线条，或以某种抽象或传统方式处理适于装饰的自然形式。
Another method is to sketch in lightly guide lines for main masses, building a sort of scaffolding of light lines to assist the eye in getting the correct outline in its place, using vertical centre lines for symmetrical forms to get the poise right. This is the method very generally in use, but I think it very desirable to practise direct drawing as well, to acquire certainty of eye and facility of hand; and one must not mind failure at first, as this kind of power and facility is so much a matter of practice. 另一种方法是用轻笔触画出辅助线草图，用轻线条构建一种脚手架，以帮助眼睛获得相应位置的正确轮廓，使用垂直中心线为对称的形式获得准确的平衡。这是非常普遍使用的方法，但我认为，直接绘画方式也很应该练习，以获得眼睛的准确性和手的灵活；但首先，你不能介意失败，因为这种能力和灵活性全在练习。
The Japanese, who draw with the brush, have accustomed themselves to draw in a direct manner without any preliminary sketching, and the charm of their work is largely owing to that crisp freshness of touch only possible to their direct method. The great object is to establish a perfectly intimate correspondence between eye and hand, so that the latter will record what the former perceives. 日本人用毛笔画画（draw），他们善于不经任何初步的草图用直接的方式画，他们作品的魅力很大程度上得益于干脆利落、富有活力的笔与纸的接触，而这只能通过直接方法才能获得。 对他们来说，重要的是在眼睛和手之间建立一种完美的密切响应，以便手能够记录眼睛所感知的东西。 //那时的日本基本上是中国唐宋的延续，而那时的中国却不是中国。克莱因在这一章讲了书法与绘画的渊源，也因此点明了中西方绘画的重要区别。在这种区别中反观自身，在断裂的历史中找到不变的永恒，我们就可以在现代重新确立自身的独特性。西方的老大师们有很多草图流传下来，中国却没有。尝试性的未必准确的草图成就了日益精准的绘画，而没有草图的确定则总在客观精准的范畴之外。象形文字的语意模糊，无法形成哲学，对自然观察的不求精准，无法诞生科学。但这不准确似乎是远古流传下来的一个朴素的样本，在不准确中的无限空间。 Accidental as they frequently seem in composition, the placing of the drawing upon the paper is carefully considered before starting, and this, of course, is always a very important point. 他们的构成通常看起来是偶发的，其实，在开始画之前如何在纸上布置是经过仔细考虑的，这是很重要的一点。 At the same time it must be borne in mind that we can accustom ourselves to any method; and the more dependent we become upon a single method, the less facility we shall have for working in any other. But for all that it is desirable to master one method—that is, to be able to draw in line freely in one way or another—and experience and practice alone will enable us to find the method most satisfactory. 同时必须铭记于心的是，我们能够使自己习惯于任何一种绘画方法；我们越依赖某一方法，在运用其他方法时的灵活度就越少。但是，对所有人来说都应掌握一种方法，即能够以这种或那种方式自由地绘出线条；只需经验和练习就能让我们找到最令自己满意的方法。 Linear Expression of Movement Another important attribute of line is its power of expressing or suggesting movement. By a law of inseparable association, undulating lines approaching the horizontal, or leading down to it, are connected with the sense of repose; whereas broken curves and rectangular lines always suggest action and unrest, or the resistance to force of some kind. 运动的线条表达 线条的另一个重要属性是它表现或暗示运动的能力。通过不可分的关联原则，起伏的线条接近水平，或向下引向水平，会与宁静的感觉相联系；而断裂的曲线和矩形线条通常暗示着行动和不安，或对某种力的抵抗。
The wave-line, indeed, may be said not only to suggest movement, but also to describe its direction and force. It is, in fact, the line of movement. Hogarth points out in his "Analysis of Beauty," 事实上，可以说波浪线不仅暗示了运动，也描述了运动的方向和力度。实际上，它是运动之线条。 霍加思在他的《美的分析》中指出， In the streams that channel the sands of the sea-shore when the tide recedes we may see beautiful flowing lines, sometimes crossing like a network, and sometimes running into a series of shell-like waves; while the sands themselves are ribbed and channelled and modelled by the recurring movement of the waves, which leave upon them the impress and the expression of their motion (much as in a more delicate medium the air-currents impress the fields of cloud, and give them their characteristic forms). 退潮时，支支细流带动海岸的沙子，我们可以看到美丽的流动的线条，有时相互交错像一张网，有时又会变成一系列贝壳样的波浪形；而沙子本身由于海浪的往复运动被带动被塑形，形成肋状，在上面留下海水运动的印记和表现（就像更微妙的媒介，气流，影响当地的云团，带给它们富有特征的形式）。 Linear Expression of Textures The hair and horns of animals, delicate human features, flowers, the sinuous lines of thin drapery, or the board massive folds of heavy robes, all demand from the designer and draughtsman in line different kinds of suggestive expression, a translation or rendering of natural fact subordinate to the artistic purpose of his work, and in relation to the material and purpose for which he works. 肌理的线条表达 动物的毛发和角，细腻的人体特征，花朵，轻薄褶皱的柔软线条，或厚重袍服宽大的衣褶，所有这些都要求设计师或绘图员在不同种类的线条中暗示或表达出来，这是一种对自然事实的翻译或渲染，从属与他们工作的艺术性目的，并与他们的工作目的和所要使用材料相关。 when we come to the expression of ideas—of thought and sentiment—we find in line an abstract but direct medium for their illustration; and this again, too, by means of that law of inseparable association which connects the idea of praise or aspiration and ascension, 当我们谈到理念的表达时，即思想或情感的表达，我们发现线条的绘制是一种抽象而直接的媒介；这里再次用到不可分的关联原则，将赞美或渴望与提升相联系, Scale of Linear expression Bowed and bent lines tending downwards, on the other hand, convey the opposite ideas of dejection and despair. 线条表达的尺度 另一方面，弯曲向下的线条，传达着着沮丧和绝望的想法。 Capacity of Line Truly the designer may find a great range of expression within the dominion of pure line. Line is, indeed, as I have before termed it, a language, a most sensitive and vigorous speech of many dialects; which can adapt itself to all purposes, and is, indeed, indispensable to all the provinces of design in line. 线条的能力范围 实际上设计师可能会发现在纯粹线条主宰下有着宽广的表达范围。正如我之前为它所定义的，线条是一种语言，是多种绘画方言中最敏感和最有活力的语言；它适用于各种目的，并且对于所有设计领域都是不可或缺的。 Line may be regarded simply as a means of record, a method of registering the facts of nature, of graphically portraying the characteristics of plants and animals, or the features of humanity: the smooth features of youth, the rugged lines of age. It is capable of this, and more also, since it can appeal to our emotions and evoke our passionate and poetic sympathies with both the life of humanity and wild nature, as in the hands of the great masters it lifts us to the heavens or bows us down to earth: 线条可以被简单地当作一种记录手段，一种记录自然事实的方法，或者图像化地描绘植物和动物或人类的特征：青年的平滑特征，上年纪人身体崎岖粗糙的线条。线条能做到这一点，并且，因为它可以诉诸我们的情感，唤起我们对人类和野生自然生活的热情和诗意的共情，如同大师手中的线条，让我们升入天堂或鞠身于地面： 2 ………….. There are the qualities of line in different degrees of firmness, roughness, raggedness, or smooth and flowing. There are degrees of direction of line, curvilinear or angular. 线条的特性有不同程度的硬度、粗糙度，或参差不齐，或光滑流动。也有直线或曲线的角度、或夹角。
Every artist, sooner or later, by means of his selective adaptive sense, finds a method in the use of line to suit his own personality—to suit his own individual aim in artistic expression—and in course of time it becomes a characteristic manner, by which his work is instantly known, like a friend's handwriting. 每个艺术家或早或晚，通过他的选择与适应的感觉，找到一种与自己个性相符的使用线条的方式，即在艺术表达中符合他自己的个性目的，随着时间的推移，成为一种特征化方式，通过这种特征他的作品能够被很快识别，就像一个朋友的笔迹。 In line-drawing we may, however, always tell some story or fact, or character, phase, or idea. 在线条绘制中，我们可能总是会讲述一些故事或事实，或特性、状态，或想法。 The leaves, perhaps, take all manner of variations of the typical form, and are set at all sorts of angles. In making a rapid sketch with the object of getting the appearance of the bough, we naturally dwell upon these accidents and superficial facts. At the same time, with nothing but line to express them, we are compelled to use a kind of convention, though our aim be purely naturalistic, to get a faithful portrait of the bough. We must make our line as descriptive as possible, defining the main forms boldly, and blocking in broadly the main masses of form and light and shade. We are now aiming at the general look of the thing. We are striving to grasp the facts of Aspect. We are concerned with the purely graphic purpose, to make a picture upon paper. 这些叶片可能具有各种特征的形式，并处于每一种角度。在快速勾勒一幅草图，主要是获取树枝的外观，我们自然而然地会处理这些随机和表面的事实呈现。与此同时,我们只用线条来表达，我们被迫采用一种惯例，尽管我们的目的是纯粹的自然主义，以获得忠实的树枝肖像。我们必须尽可能使线条具有描述性，清晰地确定主要形式，大致绘出主要形体的光影。我们现在的目标是力求掌握事物某一面的事实。我们关注纯粹的图形目的，在纸上绘出图像。
Now supposing we make our study of leaves, not as an end in itself, and for its simple pictorial values or qualities only, but with an ornamental or decorative purpose in view, intending to make use of its form and character in some more or less systematic design or pattern-work—adapted to special methods and materials—intended to decorate a wall-surface or a textile, for instance; we might certainly start with a general sketch of its appearance as before, but we should find that we should want to understand it in its detail; the law of its growth and construction; we should want to dwell upon its typical character and form, the controlling lines of its masses, rather than on its accidental aspects, because it would really be only with these that we could successfully deal in adapting anything in nature to the conditions and limitations of a design. To do this requires as much art as to make a clever graphic sketch, perhaps more; but it is certainly not so easily understood and appreciated, as a rule. Pattern-work is taken so much for granted, except by those technically interested, whereas a graphic sketch may bring the drama of nature, and of human character and incident, before our eyes. It does not require us to stop and think out the less obvious meaning, or trace the invention or grace of line, to appreciate the rhythmic, silent music which the more formalized and abstract decorative design may contain, quite apart from the forms it actually represents. 现在假设我们来做对树枝叶子的研究，不是以叶子本身为目的研究它的图像价值或特性，而是以装饰目的的视角，旨在将它的形式和特征用于或多或少的有条理的设计或图案工作中，与特定的制作方法和材料相搭配，去装饰一个墙面或一件纺织品；我们当然会和之前一样先从一张大致的外观草图开始，但我们会发现我们应该想要理解它的细节；它生长和结构的法则；我们应该想要基于它的典型特征和形式来进行画面处理，基于它的形体的控制线，而不是各种随机的外观样貌，因为只有这样我们才能成功地将自然中的一切适用于设计的条件的限制。要做到这个，需要和画一张技巧娴熟的绘画式草图相同的艺术性，也许更多；但是当然这也并不能被轻易地理解为一种准则。图案作品通常没有被当做一回事，除了对那些在技术上感兴趣的人，而绘画式草图却可能富有自然的戏剧性，人类的特征和我们眼前的那些事件。它不需要我们停下来思考一下不那么明显的含义，或跟随新颖或优雅的线条欣赏到节奏，这是更形式化或抽象的装饰性设计所具有的无声的音乐，与形式本身呈现的完全不同。
//克莱因无疑扩大了装饰性与设计的范围，在他看来，除了肖像绘画之外，都具有装饰性，甚至肖像绘画也会因艺术家自身的个性特点而带有“装饰性”。他反复强调的是深入观察眼前之物的结构与特征，将其依照设计的目的呈现出来。这种方式用于绘画其实就是抽象与表现。这一章克莱因区分了不同目的的绘画，忠实记录，或持有目的。没有绝对的忠实记录。 the imagination can be enfeebled by starvation and neglect. It can be depressed by dull and sordid surroundings. It is apt to grow, like other living things, by what it feeds on, and is stronger for exercise and development. 想象力会因视觉饥饿（审美贫瘠的环境*）和忽视（看却看不到*）而衰弱。它会被被沉闷污秽的环境所压抑。它像其他活的东西一样，怎样给养就会怎样生长，通过练习和开发变得更强大。 Memory, too, is an important and serviceable thing in designing, and this, again, can be cultivated to an almost unlimited extent. I mean that selective kind of memory which, by constant and close observation, extracts and stores up the essential serviceable kind of facts for the designer: facts of form, of structure, of movement of figures, expressive lines, momentary or transitory effects of colour—all those rare and precious visual moments which will not wait, and which happen unexpectedly. They should be captured like rare butterflies and carefully stored in the mind's museum of suggestions, as well as, as far as is possible, pinned down in the hieroglyphics of the note-book. 记忆，也是对设计来说一个重要并实用的大脑功能，它也同样可以被培养到几乎无限的范围。我的意思是说那些选择性的记忆，通过频繁和紧密的观察，为设计师提取出并储存了精华并实用的事实：形式的，结构的，人物运动的，表现性的线条，色彩的瞬间或转变效果，所有这些弥足珍贵的视觉瞬间都不会停留，只是在不经意间发生。它们应该被保存在心灵的暗示与联想博物馆中，像捕获珍稀的蝴蝶一样，极尽可能，钉在这本象形文字的记事本中。 As regards procedure in working out a design, one generally thinks of some leading feature, some central mass or form or curve—of a figure or a flower, say—and one thinks of its capacity in repeat; and, since one form or line should inevitably suggest or necessitate—as by a kind of logic—another, one adds other forms until the design is complete. For it must never be forgotten that design is a growth which has its own stages of evolution in the mind, answering to the evolution of the living forms of nature—first the blade, then the ear, after that the full corn in the ear. 关于做出一个设计的过程，你通常会考虑一些主导特征，一些中心形体或形式或曲线，比如说一个人物或一朵花的，然后会考虑它们用作图案重复的能力；同时，由于一个形式或线条应该会必然暗示另一个形式，或是因某种逻辑使另一种形式成为必然，你应该添加另一个形式，直到设计变得完整。一定不要忘记设计是生长的，在人的心灵中它有自己的进化阶段，回应着自然中有生命的形式的进化，首先是外皮，然后是穗，之后才是穗中的玉米。 The exact choice of the distribution of the counterbalancing masses must always be a matter of personal feeling, judgment, and taste, controlled by the perception of certain logical necessities: as it seems to me that designing is a species of linear reasoning,[1] and might almost be worked in its elementary stages on the principle of the syllogism, consisting of two propositions and a conclusion. 各种互相平衡的形体的分布一定始终是个人感觉、判断和品味的问题，由某种逻辑必然的认知所控制：在我看来设计是属于线性推理的一个类别，它总是在三段论原则的几个基本阶段上展开，包括两个前提和一个结论。 We see, therefore, that line possesses a constructive and controlling function, in addition to its power of graphic expression and decorative definition. It is the beginning and the end of art. By means of its help we guide our first tottering steps in the wide world of design; and, as we gain facility of hand and travel further afield, we discover that we have a key to unlock the wonders of art and nature, a method of conjuring up all forms at will: a sensitive language capable of recording and revealing impressions and beauties of form and structure hidden from the careless eye: a delicate instrument which may catch and perpetuate in imperishable notation unheard harmonies: a staff to lean upon through the journey of life: a candid friend who never deceives us: perchance a divining rod, which may ultimately reveal to us that Beauty and Truth are one—as they certainly are, or ought to be, in the world of art. 由此我们看到，线条除了具有图像表达和装饰性描述的能力之外，还具有建设性和控制的功能。这正是艺术的始终即全部。在线条的助力引导我们在广阔的设计世界走出摇摇晃晃的第一步；之后，我们的手更加灵活熟练，走得更远些，我们发现我们有解锁艺术和自然奇迹的钥匙，按照意愿显像所有形式的方法：一种敏锐的语言，能够将隐藏在疏忽的眼睛之后的形式与结构之美及其印象记录并揭示出来：一种精巧的仪器，在永不消逝的乐谱中捕捉并永存未被听到的和谐之音：一根在生命旅程中可以倚靠的手杖：一位从不欺骗我们的正直的朋友：偶尔是一根魔占棒，终会向我们揭示美和真理的同一，正如在艺术的世界中，它们当然是，也应该是一体的。 3 ……………. Draw simply a succession of strokes with any point upon paper, and we find that we are gradually led to repeat a particular kind of stroke, a particular degree of line, partly perhaps because it seems to be produced with more ease, and partly because it appears to have the pleasantest effect. 只是用任意的接触点在纸上简单地画一条连续的笔划，我们会发现自己在逐渐重复一种特定类型的笔划，某一特定角度的线条，部分原因是这样看起来更容易些，还有部分原因是这样会呈现出最愉悦的效果。 The character of our line should be sympathetic with the character of our subject as far as possible, and sensitive to its differences of character and surface, since it is in this sensitiveness that the expressive power and peculiar virtue of line-drawing consists. 线条的特征应该尽可能与主题的特征相一致，应该敏锐反应主题的特征和表面差异，因为正是这种敏感性使线条绘画（drawing）持有表现力和独特的优势。 When we have settled upon our quality of line and its degree—thick or thin, bold or fine—we shall be met with the question of emphasis, for upon this the ultimate effect and expression of our drawing or design must largely depend. In the selection of any subject we should naturally be influenced by the attractiveness of particular parts, characters, or qualities it might possess, and we should direct our efforts towards bringing these out, as the things which impress us most. That is the difference between the mind and hand working together harmoniously and the sensitized plate in the photographic camera, 当我们确定了线条的质量和程度，厚或薄，粗重或精细，就会遇到强调的问题，因为我们的绘画或设计的最终效果很大程度上取决于这一点。在选择任何主题时，我们自然会被它所具有的特定部分、特征或品质的魅力所影响，我们应当引导我们的努力去将这些最打动我们的东西呈现出来。这正是心与手相互协调的绘画与照相机摄影的感光板之间的区别。
The picture suffers from want of emphasis, or from emphasis in the wrong place. It is, of course, here that the art of the photographer comes in; and, although he can by careful selection, arrangement, and the regulation of exposure, largely counteract the mechanical tendency, a photograph by its very nature can never take the place of a work of art—the first-hand expression, more or less abstract, of a human mind, or the creative inner vision recorded by a human hand. 照片恼于想要强调，或者强调在不恰当的位置。当然这时就会有摄影师的艺术参与进来；但尽管他可以通过谨慎的选择，安排，调整曝光，在很大程度上抵消了机械倾向，但照片因其本质永远无法取代艺术作品的位置，那是一个人类的心灵的自身表达，或多或少抽象的，一个人的手纪录下来的创造性的内心景观。 //所以如果你在sketch写生或绘画时只着眼于怎么画得像，只会让绘画变的无意义。观察与发现需要艺术家的内在参与，没有心灵的参与，绘画无意义。绘画说到底，一半是形式的研究，一半是自身心灵的探究。 It is invaluable to the student of natural fact, surface effect, and momentary action, and is often in its very failures most interesting and suggestive to artists—who indeed have not been slow to avail themselves of the help of photography in all sorts of ways. 对学生来说摄影所提供的自然事实，表面效果，瞬间动作，都是无价之宝，而且通常在失败之作中为艺术家提供最多的趣味和最丰富暗示，这些艺术家在以各种方式借助摄影的辅助方面真的是并不迟缓。 In short, photography is an excellent servant and friend, but a dangerous master. It may easily beguile us by its seductive reproductions of surface relief and lighting to think more of these qualities than any other, and to endeavour to put them in the wrong places—in places where we want colour planes rather than shadow planes, flatness and repose rather than relief, for instance, as mostly in surface decoration. 总之，摄影是一个优秀的仆人和朋友，但却是一个危险的大师。它可以用出色再现凸现的表面和光影轻易地诱导我们去更多关注这些特点胜过其他， 并极力将它们放在错误的位置上，在那些我们想要色彩层面而不是阴影层面，平面化和静止而不是凸现的位置，在大多数的表面装饰中都是如此。 But one way of learning the value of emphasis is to draw from a photograph, and it will soon be discovered what a difference in expression is produced by dwelling a little more here, or a little less there. 学习强调的价值的方法之一便是根据照片来绘画（draw），很快我们就会发现在这里多处理一点，或在那里少处理一点，所制造出来的表达上的差异。 In designing, the use of emphasis is very important; and it may be said that drawing or designing without emphasis is like reading without stops, while awkward emphasis is like putting your stops in the wrong place. 在设计中，强调的使用非常重要；可以说,没有强调的绘画或设计，就像没有停顿的阅读，而糟糕的强调就像是把停顿放在错误的地方。 The possibilities of such variations of emphasis in drawing are practically unlimited and co-extensive with the variations of expression we see in nature herself. The pictorial artist is free to translate or represent them in his work, controlled solely by the conditions and purpose of his work. 在绘画中多种多样的强调的可能性几乎是无限的，就像我们在自然本身中看到的多姿多彩的呈现一样广阔无边。肖像艺术家可以自由地在他的作品中转换或再现它们，仅由他的作品的条件和目的所控制。 It is these conditions and purposes which really control both choice and treatment, and determine the emphasis, and therefore the expression of the work. 正是这些条件和目的真正控制着选择和处理，并决定了在哪里强调，因此决定了作品的表达。 No kind of art can be said to be unconditioned, and the simplest and freest of all, the art of the point and the surface, which covers all the graphic art and flat designing, is still subject to certain technical influences, and it may be said that it is very much in so far as these technical influences or conditions are acknowledged and utilized that the work gains in artistic character. 任何艺术都不会是不受条件制约的，即使是其中最简单最自由的接触点和承接表面的艺术，包括所有的图像艺术和平面设计，依然受特定技术的影响，可以说，目前为止正是这些技术影响或条件限制被接受或利用，使得作品在艺术特征上获益。 A firm and open quality of line, with bright black and white effects, not only has the most attractive decorative effect with type, but lends itself to the processes of reproduction for surface printing best, whether woodcut or one of the numerous forms of so-called automatic photo-engraving, as well as to the conditions of the printing press. 坚实、伸展的线条品质，加上明亮的黑白效果，不仅具有印刷文字最富吸引力的装饰效果，同时也有助平面印刷最佳复印过程，无论是木刻，或是被称作自动照相刻板（平板印刷*）的多种形式，并且适应于印刷机的限制条件。 In all design-work which has to be subjected to processes of engraving and printing, clearness and definiteness of line is very necessary. Designs for textile printing of all kinds, for wall-papers, especially, require good firm drawing and definite colour planes. This does not, however, mean hardness of effect. A design should be clear and intelligible without being hard. 在所有需要刻版过程和印刷的设计工作中，线条的清晰和明确是非常必要的。为所有的纺织品印刷、特别是墙纸的设计，需要坚实的绘画（drawing）和明确的色彩层面。尽管如此，这并不意味着效果的坚硬。一个设计应该清晰易懂但不必坚硬。 Beauty and character. — In these lies the gist of all design. While the technical conditions, if fully understood, fairly met, and frankly acknowledged, are sure to give character to a design, for whatever purpose, beauty is not so easy to command. It is so delicate a quality, so complex in its elements, a question often of such nice balance and judgment—depending perhaps upon a hair's-breadth difference in the poise of a mass here, or the sweep of a curve there—that we cannot weave technical nets fine enough to catch so sensitive a butterfly. She is indeed a Psyche in art, both seeking and sought, to be finally won only by devotion and love. 美和特性。——这其中蕴含着设计的要点。当技术条件被完全理解、恰当应对、坦率接受时，就必然会给设计赋予特征，无论设计目的是什么，但是美就不那么容易掌控了。它的品质如此微妙，它的元素如此复杂，通常是良好的平衡和判断的问题，或许取决于这里形体位置一根头发丝宽度的差异，或是那里曲线的伸展方式，我们不能编织足够精细的技术之网来捕获这只敏锐的蝴蝶。她确实是艺术的灵魂，追寻或是被发现，最终只有奉献和爱才能获得她。 This search for beauty—this Psyche of art—is the purely inspiring artistic purpose, as distinct from the technical and useful one, which should, perfectly reconciled and united with it, determine the form of our work. 这种对美的追求，这个艺术的灵魂，完全是激励人心的艺术性目的，不同于技术和实用的目的，后者应完美地与前者配合并联合，共同决定作品的形式。 In drawing or design we may seek particular qualities in line and form either of representation or of ornament. We may desire to dwell upon particular beauties either of object or subject. Say, in drawing from a cast or from natural form of any kind, we desire to dwell upon beauty of line or quality of surface. Well, since it is most difficult, if not impossible, to get everything at once, and nothing without some kind of sacrifice, we shall find that to give prominence to—to bring out—the particular quality in our subject (say beauty of line), it becomes necessary to subordinate other qualities to this. A drawing in pure outline of a figure may be a perfect thing in itself. The moment we begin to superadd shading, or lines expressive of relief of any kind, we introduce another element; we are aiming at another kind of truth or beauty; and unless we have also a distinctly ideal aim in this, we shall mar the simplicity of the outline without gaining any compensating advantage, or really adding to the truth or beauty of the drawing. 在绘画或设计中，我们可能会寻求某种特定品质的线条或形式，无论是再现还是装饰。我们会希望在处理某种美的时候即客观又主观。比如说，在为任何塑像或自然形式绘画（drawing）时，我们希望能致力于线条之美和面的品质。但一次就获得所有，无需做出任何牺牲，即便可能做到也是最难的，因此我们应该找到主要的一点，我们的主题中的特定品质（比如说线条的美感），将它表达出来，并必然将其它品质作从属处理。一幅作品只是绘出一个物体单纯的轮廓线，就这一品质说已经完美。在我们开始添加阴影，或任何类型的线条来表达凸现的时候，我们就为画作导入了其它元素；我们在试图获取另一种类型的真或美；除非我们在这方面也有一个明确的理想目标，否则我们只会毁掉轮廓的简洁性，而不会获得任何补偿收益，或是真正在画作中增加了真或美。 In designing, too, unless we can so contrive the essential characteristics of our pattern that they shall be adaptable to the method and material of its production, and make its reproduction quite practicable, it is sure to reappear more or less marred and incomplete. The thing is to discover what kind of character and beauty the method will allow of — whether beauty or quality of line, or surface, or color, or material; and if to be reproduced in a particular method or material, the design should be thought out in the method or material for which it is destined, rather than as a drawing on paper, and worked out accordingly, using every opportunity to secure the particular kind of beauty naturally belonging to such work in its completed form. 在设计上也一样，除非我们能在图案的关键特征上竭力而为，让其适用生产的方法和材料，并让复制可行，否则只会是有所损毁或不完善的设计。关键是要发现方法所允许那一类型的特征与美，是线条品质的美，还是平面，或色彩，或材料；如果使用特定的方法或材料进行复制，设计就应该考虑最终目的的方法和材料，而不是仅仅纸上的一张绘画，并且相应地要利用各种机会努力确保特定种类的美感以完整的形式自然地属于该作品。 Thus we should naturally think of planes of surface in modelled work, and the delicate play of light and shade, getting our equivalent for colour in the design and contrast of varied surfaces. 因此我们应该很自然地考虑塑模作品中的表面层次和光与影的微妙闪现，为我们的设计找到相应的色彩和多个面之间的对比。 The mind must project itself, and see with the inner eye the effect of the design as it would appear in actual use, as far as possible. Invention, knowledge, and experience will do the rest. 心灵必须能够通过内部投射来预测，用内在之眼尽可能的看到设计的效果，如同它在现实中呈现的一样。创造，知识，和经验会负责剩余的工作。 The flexible point of the brush, for instance, dipped in ink, or colour, has its own peculiar capacity, its own range of treatment, one might say, its own forms. 例如，笔刷柔软的笔尖，沾入墨水或颜料，就有了自己独特的能力，自己的处理范围，可以说，它有了自己的形式。 from the simpler leaf forms, which seem to be almost a reflection or shadow of the moist pointed brush itself, to the elaborate graphic drawing in line or light and shade. 从比较简单的叶子的形式，看上去几乎是湿润尖头笔刷自己的镜面反射或影子，到精细的绘画线条，或者光与影。
For ornamental forms a full brush should be used: otherwise they are apt to look dragged and meagre. 对于用于装饰的形式来说，应该用坚实丰满的笔刷：否则会看起来不工整或劣质。 One should never lose sight, in using the brush as a drawing tool, of its distinctive quality and character, and impart it to all work done by its means. 你应该永远不要失去用笔刷作为素描（drawing, 笔刷通常是painting的工具*）的工具的洞察力，利用它的独特品质和特征，将其用于所有适用的工作中。
De Wint's watercolor landscape. This is mastery of brush and colour in one direction—tone and effect. A Japanese drawing of a bird or a fish may show it equally in another—character and form. 德温特的水彩风景画是在一个方向掌控了笔刷的使用，即色调和效果。一副鱼或鸟的日本画则对等地显示出在另一个方向上的掌控，即特征和形式。
Charcoal, being halfway between hard and soft—a sort of halfway house or bridge for one passing from the flexible brush to the firm and hard points of pencil and pen—is first favourite with painters when they take to drawing. Its softness and removability adapts it as a tool for preliminary and preparatory sketching in for all purposes, and both for designer and painter; but it lends itself to both line and tone drawing, or to a mixture of both. It is therefore a very good material for rapid studies (say from the life) and the seizing of any effect of light and shade rapidly, since the masses can be laid in readily, and greater richness and depth can be obtained in shorter time, perhaps, than by any other kind of pencil. 木炭笔，介于硬和软的中间，是从柔软的笔刷过渡到笔尖坚硬的铅笔或钢笔的中途之家或桥梁，是画家们素描时的首选。它的柔软性和可擦除性让它适合于为所有目的做初步准备的草图所用的工具，同时适用于设计师和画家；它即能画线条，也能画色调，或是两者的混合。因此它是快速研究（比如说对生物体）非常好的工具，可以瞬间捕捉光影效果，因为可以快速绘出形体，在短时间内获得更多的丰富程度和深度，可能比任何其它种类的铅笔都要多。 A slight rubbing of the finger gives half tones when wanted, and is often serviceable in giving greater solidity and finish to the work. 想要半调时，手指轻轻一擦即可，在给作品更大的坚实度和完整性时通常都很实用。 It is also, of course, used for drawings which are afterwards "inked in." I do not think, however, that pen-work done in this way is so free or characteristic as when done direct, or at any rate quite freely, upon a mere scaffolding of preliminary lines, used only to make the plans for the chief masses and forms. 当然，它（铅笔*）也用于素描，事后"上墨"的那一种。 尽管我不认为这种方式的钢笔绘画能和直接用钢笔画一样的自由或具有特征，在为主要形体和形式起草的脚手架一样的基本线条上，是否还能自由流利。 Its gray and soft line, however charming in itself, does not fit it for work where sharpness and precision of line and touch are required, as may be said to be the case with all work intended to be reproduced by some process of handicraft or manufacture, except some sorts of photo-engraving or lithography. 它（铅笔*）的灰色柔软的线条，无论它本身多么迷人，并不适合于哪些需要清晰明确的线条和笔触的工作，即那些需要通过手工或机器工序复制的工作，除非是某种类型的照相制版或石版印刷。 There remains yet another point of the firm and decisive order, the pen, which enables us to get firmness and sharpness of line and precise definition, as well as considerable range of treatment and freedom of touch. 还有另一种坚实明确的类型，钢笔，它可以让我们获得坚实清晰的线条，精准的轮廓，同时还具有相当大的处理能力和自由的笔触。 The pen seems to bear much the same relation to the brush as the lead pencil does to charcoal—not capable of such full and rich effects or such flowing freedom of line, but yet possessing its own beauty and characteristic kinds of expression. Its true province is in comparatively small scale work, and its natural association is with its sister-pen of literature in the domain of book-design and decoration, and black and white drawing for the press. It's varieties are endless, and the ingenuity of manufactures continually places before us fresh choice of pen-points to work with; but though one occasionally meets with a good steel pen, I have found it too often fails one just when it is sufficiently worn to the right degree of flexibility. One returns to the quill, which can be cut to suit the particular requirements of one's work. For large bold drawing the reed-pen has advantages, and a pleasant rich quality of line. 钢笔和笔刷之间的关系似乎与铅笔与炭笔之间的关系相同，无法产生丰满丰富的效果或那样自由流动的线条，但是带有它自身的美感和独特的表达方式。它真正的领域是在相对尺寸较小的工作中，很自然地它与它的姐姐相关联，书籍设计与装饰以及出版用黑板画领域中的文学用钢笔。钢笔的种类繁多，制造商不断将新品摆在我们面前；但是尽管偶尔能遇到一只好钢笔，我发现它经常会因为特定角度的磨损而令人失望。 有人又回去用羽毛笔，它可以被切成工作需要的样子。对于粗线的素描芦杆笔具有优势，它的线条品质丰富。 //绘画工具的尝试与选择其实是建立起内在真实与外在形式之间的对应关系。或者，内在形式与外在真实。 But with whatever point we may work, the great object is to be perfectly at ease with it in drawing—to thoroughly master its use and capacities, so that in our search for that other command, of line and form, we may feel that we have in our hands a tool upon which we can rely, a trusty spear to bear down the many difficulties and discouragements that beset, like threatening dragons, the path of the art-student. 但是无论我们用什么样的笔尖工作，重要的是要在绘制中能够轻松地使用，彻底掌握它的使用和所能，这样在我们去驾驭线条和形式的时候，会感到自己手中有可依赖的工具，像一只面对熊时可信的长矛，去应对那些像威胁的龙一样呈现在艺术学生道路上的困难和沮丧。
