. Frank Brangwyn and his work. 1911 . byvisits to a country house where master and pupil studiedplants together. But soon another turn was given tothese early studies. One day, at South Kensington,William Morris spoke to Brangwyn, examined his work,and then asked him to collect details from old critics have been puzzled to account for the com-mand displayed by Brangwyn in practical methods ofdecorative design—an art unknown to ninety-nine paintersin a hundred, perhaps. It is forgotten that his first know-ledge in this very useful field came partly from his studyof plants with M
. Frank Brangwyn and his work. 1911 . byvisits to a country house where master and pupil studiedplants together. But soon another turn was given tothese early studies. One day, at South Kensington,William Morris spoke to Brangwyn, examined his work,and then asked him to collect details from old critics have been puzzled to account for the com-mand displayed by Brangwyn in practical methods ofdecorative design—an art unknown to ninety-nine paintersin a hundred, perhaps. It is forgotten that his first know-ledge in this very useful field came partly from his studyof plants with Mr. Mackmurdo, and partly from histraining under William Morris. For some time he workedat the Morris rooms in Oxford Street, not only doing oddjobs, but making full-sized working cartoons from hisemployers sketches. This sounds easy, perhaps, butmany artists of note would much rather see it done thansit down to do it themselves. For the work is not only 12 w <; o Pi G < Pi h PQ Z < W u ac hj h < ■ ;S o ■-■. o ~ Tarentaqe and Early Studies decorative freehand drawing ; it must be done at once,without bungling and hesitation, each motif falling pat intoits right place, every detail in scale with its neighbours,and all within a space appointed w^ith Procrustean the tendency of every kind of drawing, whether youwork from models or from memory, is to outgrow thelimits of space fixed by your paper or canvas. Many aportrait painter, after years of practice, feels this whenhe begins to place even a single figure effectively. Con-sider, then, how useful it was to Frank Brangwyn toenlarge the sketch designs by William Morris, turningthem cjuickly and correctly into full-sized cartoons forcarpets, wall-papers, tapestries, and so forth. This wasthe exercise that gave him courage and self-confidence;it strengthened his hand; it taught his eyes not only tomeasure correctly, but to see on the paper before themthe exact spacing of a big composition. So, then, in
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