Decorative or Ornamental Art

Decoration relates to the production of beauty in art, in which the first principle to be considered is symmetry – the equal balance of two halves. The second principle is repetition.

Repetition may be considered as Simple, when the same unit is used repeatedly.

As Alternate, when two units are used alternately.

As Combined, when several units (each one different) are
used.

Simple repetition, Alternate repetition and Combined repetition are seen in Fig. 2. Further complication appears in Fig. 3.

Conventional Design

To conventionalize means to represent by symbol of some exact preconceived outline, rather than by an attempt to duplicate resemblance to a natural object. To conventionalize, for instance, is to produce an ornamental design of such a character that it may be made up of several different integral parts, each of which is copied from some natural object, such as a leaf or flower, but which has been formalized into the typical rather than the correct representation of the original.

Or, to give another instance, it may be a leaf made to conform to some geometrical figure, such as the maple leaf drawn within the confines of a hexagon.

Even in pictorial art, liberties are taken with nature to overcome the limitations of human efforts to make certain visible impressions by pictorial means.

Ornament – In the ornamental designs of the Greeks and the Romans, Repetition and Alternation were the chief resources.

Modern ornamenters added Intersection, which means relieving Repetition and Alternation at intervals with additional forms or group of forms, and then continuing as before.

Complication also has been added. In decorative design, Complication is a term which differs somewhat from the – ordinary meaning. It is here used to distinguish the results produced from the contact, interlacing of the various forms comprising the whole.

Confusion is the term of another element that has a valued place in modern decoration. Confusion, usually the synonym of disorder, when applied to decorative art is used in giving contrast and even harmony to the general composition. The ornamentist in employing Confusion gains the aid of every possible object, whose curves or symmetrical lines appeal to his eye. He will tints group in one design the most incongruous figures, all of which give zest and life to an otherwise purely mechanical design.

Confusion in designing ornament is the artist’s license. The sculptor requires Confusion’s aid, when he fills his pedestals, niches, etc., with ornaments imitated, at random it would almost seem, from the vegetable and animal world.