Design drawing 1878 - 1888

Editor: Here we have Christopher Dresser's "Design Drawing," made sometime between 1878 and 1888. It looks like it incorporates a few different drawing and print media. It feels really bold with all the patterns stacked together. What stands out to you when you look at it? Curator: The relationships between the geometric and organic patterns. Note how Dresser juxtaposes rigid lines with curvilinear forms, establishing a dynamic tension. Do you see how the lower section plays with symmetry? Editor: Yes, there's a clear repetition, but it's not perfectly mirrored, which creates this almost hypnotic effect. But then, in the top two sections, we see motifs arranged more linearly between horizontal bands. Curator: Precisely. The strategic employment of horizontal lines functions as a compositional anchor, allowing for the freer expression of the organic motifs. Reflect on the color palette as well; note the considered deployment of complementary pairings to enrich the viewing experience. How do they interact with each other? Editor: I think the contrasting warm and cool tones amplify the geometric qualities, especially where sharp edges meet. The colours make each section distinctive, yet they don't clash, so there's cohesion overall. Curator: Yes. He uses both analogous and contrasting colours within defined geometric compartments. So what does that visual ordering tell us? Editor: I suppose it means he carefully considered every aspect of the composition, every choice down to the placement of each individual color block to highlight the design’s inherent structure and form. It’s like a deliberate articulation of aesthetic principles. Curator: Precisely. Understanding these choices helps reveal the underlying architecture of the piece and underscores the principles of formalism itself. Editor: That makes me see the artwork completely differently, thank you! Curator: The pleasure was all mine!