those who argued the other side of the question. In response to these rigid systems of teaching drawing, Ruskin, for example, held that nature was being rejected by pedagogical drawing which was "oriented toward an industrial future and the cult of the machine" (Brett 15). "The consequence and cause of geometrical simplicity" was, in Ruskin's opinion, "'savagery'" (quoted in Brett 15).
Thus, it seems that there can be no middle ground on which the respective merits of design and art are understood, unless values are detached from the discussion. Leaving aside aesthetic values, or the politicized philosophical arguments of Dyce and Ruskin, the desirable qualities of good design are that it be mechanically reproducible, and that it attract an audience. That audience can either be the potential purchasers of products, with packaging or advertising designed to sell them, or consumers for whom the selection of a particular fabric, teapot, or automobile is based, primarily or in part, on the de
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