DESIGNING (n.)

DESSIN (fra.) · DISEGNO (ita.) · ZEICHENKUNST (deu.)
TERM USED AS TRANSLATIONS IN QUOTATION
DESSINER (fra.) · TEKENEN (nld.) · TEKENKUNST (nld.)
TERM USED IN EARLY TRANSLATIONS
DESSIN (fra.)

FILTERS

CONCEPTUAL FIELDS

LINKED QUOTATIONS

3 sources
5 quotations

Quotation

Of Drawing, and Designing in generall
{Drawing and Designing, their excellent use.} I Have marvailed, at the negligence of Parents in generall ; they not to enforce a Necessity, in the Education of their youth, to this Art of
Drawing and Designing, being so proper for any course of Life whatsoever. Since the use thereof for expressing the Conceptions of the Mind, seems little inferiour, to that of Writing ; which in no man, ought to be deficient. And in many Cases, Drawing and Designing performs, what by words are impossible ; and (to boot) perfects the hand, for all manner of writing.
[…]. For almost, nay in any
Arts, we must respect Rule, and Proportion, which this makes perfect. […].
But to our particular purpose of
Painting, it is the only Consequence. And therefore to draw well with the Pen, after a Copy, or the Life, is the most difficult to begin, and the only pains, for the present ; but when mastered, the whole worke of Designing (which leads you into Painting) will become the greatest pleasure ; and of more variety, then any Manuall Profession what ever.

drawing

Conceptual field(s)

PEINTURE, TABLEAU, IMAGE → définition du dessin
L’ARTISTE → apprentissage

Quotation

The Practice of Drawing or Designing.
{The practice of Drawing and Designing.} I Would prepare you with Rule and Compasse, and other Instruments, necessary for you to lye by you at hand ; but advise you to practise without them ; It is your eye must judge, without artificiall Measuring. And when you have past my first directions, and are perfect to draw by the Life, you may afterwards, in large Proportions and dimensions, use your Instruments, both for perfection, ease, and speed.
[…].

drawing

Conceptual field(s)

L’ARTISTE → apprentissage
L’ARTISTE → qualités

Quotation

Of Colouring and Shadowing of History in Limning, and also other Necessary Observations.


The differences between Limning Pictures to the Life, or History, are Infinite ; notwithstanding the same Colours that are used for one do also for the other. And to particularise but part of what may be well said upon this Subject, would be too tedeous, if not endless. The most Remarkable is most certainly in the Variety of Colouring of things according to their several Sexes and Ages ; and also of Invention of ordering and well Stelling. All things which are to be represented, are many times according to the Humour, Judgement, and Discretion of the Master. We see generally in the Practice of the best and most Famous Painters, that they that do follow the Life, do tie themselves strictly and precisely to follow what they see in the Life, to immitate it as near as possible ; yet in their Inventions they assume to themselves such a Gentile Liberty and Licence, both in Colouring and Ordering ; but not so far as to run into those Extremes as
Bartholomæus Spranger, Henry Goltzius, Abraham Blomart, and Outeawale, and several other Dutch Painters, run into about the Year 1588 ; for their Inventions at that time and Actions were so extravagantly strain’d and stretch to that degree beyond Nature, that made their Works seem to the Judicious Eye very Ridiculous, and contrary to Nature ; and at that time it was grown to such an Imposture or Mode, that he was counted no Master that could not strain his Actions in that extravagant manner. Which Mode was afterwards laid aside, and the Works that those Masters afterwards made were incomparably Good, by their Embracing more the Ancient Italian way of DESIGNING, which was more Modest, Gentile, and Graceful. So far they abused the Modest Licence, that so Graced the Admirable Works of Titian, Michael Angelo, and most of the Eminent Italians of that Age. And others have been as Extravagant in their Colouring. Which two Extremes may be both avoided by imitating that Divine Titian for Colouring, who was of all others esteemed the best.

Conceptual field(s)

MANIÈRE ET STYLE → le faire et la main

Quotation

DESIGN or DRAWING
By these Terms is sometimes understood the expressing our Thoughts upon Paper, or whatever other flat Superficies ; and that by Resemblances form’d by a Pen, Crayon, Chalk, or the like. But more commonly, The giving the Just Form, and Dimension of Visible Objects, according as they appear to the Eye ; if they are pretended to be describ’d in their Natural Dimensions ; If Not, but Bigger, or Lesser, then Drawing, or Designing signifies only the giving those Things their true Form, which implies an exact proportionable Magnifying, or Diminishing in every part alike
And this comprehends also giving the true Shapes, Places, and even Degrees of Lights, Shadows, and Reflections ; because if these are not right, if the thing has not its due Force, or Relief, the true Form of what is pretended to be drawn cannot be given : These shew the Out-Line all round, and in every part, as well as where the Object is terminated on its Back-Ground.

In a Composition of several Figures, or whatever other Bodies, if the Perspective is not just the Drawing of that Composition is false. This therefore is also imply’d by this Term. That the Perspective must be observ’d in the Drawing of a Single Figure cannot be doubted.
I know
Drawing is not commonly understood to comprehend the Clair-obscure, Relief, and Perspective, but it does not follow however that what I advance is not right.
But if the Out-Lines are only mark’d, this also is Drawing ; ‘tis giving the true Form of what is pretended to, that is, the Out-Line.
The Drawing in the latter, and most common Sense ;
besides that it must be Just, must be pronounced Boldly, Clearly, and without Ambiguity : Consequently, neither the Out-Lines, nor the Forms of the Lights, and Shadows must be Confus’d, and Uncertain, or Wooly (as Painters call it) upon pretence of Softness ; nor on the other hand may they be Sharp, Hard, or Dry ; for either of these are Extreams ; Nature lies between them.

design · drawing

term translated by DESSIN in RICHARDSON, Jonathan, Traité de la Peinture, Par Mr. Richardson, le Père, Tomes I. et II. Contenant, Tome I. Un Essai sur la Théorie de la Peinture ; Tome II. Un Essai sur l'art de critiquer, en fait de Peinture ; & un Discours sur la Sience d'un Connoisseur. Traduit de l'Anglois; Revu & Corrigé par l'Auteur., trad. par RUTGERS, Antoine, Amsterdam, Herman Uytwerf, 1728, 2 vol., vol. I., p. 114-116.

Conceptual field(s)

CONCEPTION DE LA PEINTURE → dessin

Quotation

When a Painter intends to make a History (for example) the way commonly is to design the thing in his Mind, to consider what Figures to bring in, and what they are to Think, Say, or Do ; and then to Sketch upon Paper this Idea of his ; and not only the Invention, but Composition of his intended Picture : This he may alter upon the same Paper, or by making other Sketches, till he is pretty well determin’d as to that ; (and this is that first Sense in which I said the Term Drawing, or Designing was to be understood.)

drawing

term translated by DESSIN in RICHARDSON, Jonathan, Traité de la Peinture, Par Mr. Richardson, le Père, Tomes I. et II. Contenant, Tome I. Un Essai sur la Théorie de la Peinture ; Tome II. Un Essai sur l'art de critiquer, en fait de Peinture ; & un Discours sur la Sience d'un Connoisseur. Traduit de l'Anglois; Revu & Corrigé par l'Auteur., trad. par RUTGERS, Antoine, Amsterdam, Herman Uytwerf, 1728, 2 vol., vol. I., p. 119-120.

Conceptual field(s)

CONCEPTION DE LA PEINTURE → dessin
GENRES PICTURAUX → peinture d’histoire