Page:Embroidery and Fancy Work.djvu/13

Rh "Obtain two strips of looking glass, each two inches wide and six inches long. Paste their backs on a single piece of tough paper, or muslin, which may just be brought over the edge to prevent cutting. Do this so that the glasses will open and shut like a portfolio. Now take any small drawing of any kind whatever, an outline sketch of a leaf being the best, stand the glasses upright at an equal $$\llcorner$$ angle, and put the small design between them. By the figure formed by the reflections it may be seen that ''any design, however meaningless or irregular, becomes symmetrical as a part when it is accurately repeated in union with itself." ''

Practice drawing a spiral line, for it, in varied combination, is the foundation of graceful design. "The first step after repeating simple designs, is to evolve the off-shoots or transcendental curves, or long V's from a spiral."

Study of a good, conventional design with an endeavor to discover its "motive" or foundation line will aid one much in forming combinations of their own.

The same general directions will aid one in forming less conventional designs. Study beautiful forms in nature. If you cannot copy them directly from the object, draw them from good outlines, using tracing paper if necessary. It will not belong before you throw aside this aid, and trust to your own resources. And as your power over your pencil grows, your interest in your work will also grow. Magazines and papers will constantly yield you new suggestions. A portfolio or box will soon be needed to contain your collection of "hints." Nature even will acquire a new interest to you. Copy, whenever you can, anything that strikes you as really good. Your taste will be educated in the process. By no means neglect to make copies of letters, either quaint or pretty. Your reading will soon be taxed for the benefit of your new pursuit. To say