File:Art in dress (1916) (14747058376).jpg

Identifier: artindress00bolm (find matches)
Title: Art in dress
Year: 1916 (1910s)
Authors: Bolmar, Lydia McNutt, Kathleen, joint author
Subjects: Clothing and dress Interior decoration
Publisher: Peoria, Ill., The Manual Arts Press
Contributing Library: The Library of Congress
Digitizing Sponsor: The Library of Congress

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which is greatly magnified by violent contrast in color. Violenceof line may be made less conspicuous by unity in color, Fig. 11, b.When lines are in harmony with the structural lines of thebody, more violence in color may be allowed, Fig. n, c. 18 ART IN DRESS Beets and Tie Ends Structural lines in ties should echo the structural lines of thebody, and the length of the tie should make good space divisionsbetween the neck and belt line, Fig. 12, a, b, c, d, e, f, and g.
Text Appearing After Image:
Pig. 12 Structural lines of belts and belt buckles should also be inaccord with the lines of the figure, Fig. 12, h, i, and /. Violent opposition of line attracts too much attention anddoes not support structure, Fig. 12, k, I, m, n, 0, and p. CHAPTER III PRINCIPLES OF DESIGN APPLIED TOHAIR-DRESSING IF our faces were all built on the perfect lines of the featuresof a Greek goddess, we might follow the freaks and fanciesof fashion with little or no fear; but, unfortunately, we arenot all so constructed. A face, already bad in line, often has itsdefects greatly magnified by a thoughtless repetition of theselines in the dressing of the hair. For we must remember that a

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