The color-scheme ought to be simple and broad.  No set rules can be laid down to govern its disposition, which must always have reference to the whole design.  The importance of employing such a broad and simple scheme in decorative drawing needs no better argument than the effective poster design by the “Beggarstaff Brothers,” Fig. 69, and that by Mr. Penfield, Fig.70.  Of course the more conventional the design the less regard need be paid to anything like a logical disposition of color.  A figure may be set against a black landscape with white trees without fear of criticism from reasonable people, provided it looks effective there.

[Illustration:  FIG. 70 EDWARD PENFIELD]

[Side note:  Modern Decorative Draughtsmen]

A word or two, in conclusion, concerning some of the modern decorative draughtsmen.  Of those who work in the sixteenth century manner, Mr. Howard Pyle is unquestionably the superior technician.  His line, masterly in its sureness, is rich and charged with feeling.  Mr. H. Ospovat, one of the younger group of English decorators, has also a charming technique, rather freer than that of Mr. Pyle, and yet reminding one of it.  Mr. Louis Rhead is another of the same school, whose designs are deserving of study.  The example of his work shown in Fig. 71—­excellent both in color and in drawing—­is one of his earlier designs.  Mr. J. W. Simpson, in the book-plate, Fig. 72, shows the broadest possible decorative method; a method which, while too broad for anything but a poster or a book-label, is just what the student should aim at being able to attain.

[Illustration:  FIG. 71 LOUIS J. RHEAD]

[Illustration:  FIG. 72 J. W. SIMPSON]

Some of those decorators whose work shows a Japanese influence have a most exquisite method.  Of these, that remarkable draughtsman, M. Boutet de Monvel, easily takes the first place.  Those who have had the good fortune to see his original drawings will not easily forget the delicate beauty of outline nor the wonderfully tender coloring which distinguishes them.  Mr. Maxfield Parrish is another masterly decorator who is noted for his free use of Japanese precedent as well as for the resourcefulness of his technique.  The drawings of Mr. Henry McCarter, too, executed as they are in pure line, are especially valuable to the student of the pen.  In respect both of the design and treatment of decorative subjects, the work of the late Aubrey Beardsley is more individual than that of any other modern draughtsman.  That of our own clever and eccentric Bradley, while very clearly confessing its obligations, has yet a distinctive character of its own.  The work of the two latter draughts men, however, is not to be recommended to the unsophisticated beginner for imitation, for it is likely to be more harmful than otherwise.  Nevertheless, by steering clear of the grotesque conventions with which they treat the human figure, by carefully avoiding the intense blacks in which a great deal of their work abounds, and by generally maintaining a healthy condition of mind, much is to be learned from a study of their peculiar methods.