This step in our approach, without a shadow of a doubt, will be the easiest part of our operation. At this point it will be necessary to identify representational designs, devices, motifs, or forms with which we wish to interact, that are associated with a particular period, place, or culture. There are many books on the subject which can be invaluable assets in our endeavor, which give insights and suggestions about some of the vast array of designs and devices that may be of interest to any one person or group. For instance: Owen Smith’s book: Grammar of Ornament is one such work, as is The Encyclopedia of Ornament by Arthur Racinet; these show motifs and rudimentary designs on a worldwide scale as they existed in various cultures, times, and places. Flinders Petrie’s study on: Decorative Patterns of the Ancient World should not be overlooked and Hornung’s Designs and Devices should be noted as well, along with The Book of Signs by Rudolf Koch. Still, I recommend those books that show minimalist designs and devices in black and white illustrations (Hornung, Kock, Petrie) over those more florid and colorful representations (Smith, Racinet). In fact, Dover publishing house, has a plethora of books on period and cultural style and design. These are some of the most rudimentary texts that could be consulted when approaching art from a Concrescentist perspective but there are countless others as well. This necessity of drawing on various cultures and periods for inspiration is hardly new or novel. It is the way in which we intend to apply the information that is different; for in the end it is the radical alteration of all designs which we borrow that is our goal. But even altering these designs is not our final goal. Our ultimate goal is the point of intersection; the point at which the hybrid is produced by the relationship between two dissimilar designs or forms, that is our nexus. All cultures, of course, carry their own indelible stamp which modulates over time and across various locales. So in the end, these devices, elements, designs, forms and motifs are basic modules and may be used in much the same way that color is used by every artist. In this case, however, we are simply using designs and even three dimensional forms to “paint” with. But having chosen an example, I still need to point out that there is a great difference in complexity between painting and what we are doing. It is at this point where the simple analogy breaks down. On the other hand, if we try to think about color on more of a multidimensional level; not as simple color but in a much more sophisticated sense then we’ll have something approaching the complexity of our own proposed scheme for working with form and design. For instance, rather than thinking of blue in a simple primary sense, if we envision a range of blues: cobalt, cerulean, ultramarine, phthalo, etc. and in addition to these add the concepts of: hue, value, and tone then it begins to define something of the complexity of our own operation for intersecting designs and producing hybrids. It would probably be more accurate to compare the simplicity of Latin characters to Chinese characters in both meaning, complexity, and variation. At this point then, one has some idea of the vast number of possibilities which present themselves when we begin to work in three dimensions. The difference is that Chinese characters are closer to modules which can be embellished, minimalized, combined and generally nuanced in a way which is closer in complexity to what I’m suggesting than can Latin characters. Yet we tend to think of form, design, and device as “set” in much the same way that we “see” a Latin character rather than in the way in which we would “see” color or a Chinese character. In the same way, our basic motifs, elements or forms should be seen as modules and each is open to extensive alteration, amplification, and modulation. Each design, device, or form may be altered, changed, and nuanced in the same way that we would normally think or blending color. The way in which we will go about manipulating and changing form can be compared to the way in which an artist applies the strokes. We may also compare this to the methods and techniques an artist would use in the creation of a piece – the stylization of a piece and the way it is rendered is the subject of our next section.

     So our first task, once we have established an identification with a particular period, is to select a series of motifs, designs, elements, forms, and /or devices. At this point, for our purposes, we have three general choices to make before we can get started. At the outset we have three choices to make and all are simple. First we must necessarily pick a culture and if we acknowledge the number of cultures across the course of history from which we have an opportunity to select, this will be no mean task. Whatever culture we select our designs from will function as a kind of “background” for the rest of our work and will broadly identify our process. Next we need to narrow our focus. To make our choice more manageable we need to specify a certain era or time period in which a design or motif emerged: this will give us our perspective or context as it were: the angle from which and the way in which we are to view our design elements. Finally, what we have selected as our larger context is also dependent to a greater or lesser degree on the locale in which it originated. This will be our setting. It may and probably would be of great help to view the way in which a locale, or culture causes artists associated with a particular movement  to vary their views and presentation of stylistically similar design elements or motifs. On the other hand, it is important to note how artists in one locale, who identify with a particular movement originate a motif or element that contrasts with or varies in appearance from elements that originate in another locale. Finally it is important to note any specific similarities and certainly the obvious differences in the appearance of these motifs and elements. In fact this is an excellent illustration of what we mean by “roads not taken.” When we see designs or elements associated with the same movement appear in one locale or culture and not in another. It is these three areas, culture, era, and location; that affect the appearance of our devices and designs in the most immediate sense. But even at this early stage let me reiterate a word of caution. Eventually, in the last analysis (or to be more accurate – in the last synthesis), we must abandon the formulistic approach I’m outlining here and work intuitionally and instinctively otherwise our result is apt to appear wooden and artificial, contrived and unconvincing.

     So in choosing elements, what should be our criteria. Probably only this: that you have an interest in the period and the elements with which you are dealing. To have only a marginal interest in your material will cause a disinterest that is likely to trip you up at critical stages in that your disinterest will keep you from going the “extra mile.”