written by Johannes Itten from Design & Form: Basic Course @ the Bauhaus In my Vienna painting class of 1918 I had a talented student of a most characteristic type. She was delicate, small, shy, and soft-spoken. Her eyes were like moonstones, and her pale skin was transparent. She wore her hair loose, and while she worked it sometimes fell over her face like a veil. Her drawings and watercolours were without lines, in gray tones as if veiled; they conformed exactly to the appearance of the artist. This observation led me to recognize subjective forms and colours also in the works of other students. Simple people, unspoiled by schools, nearly always work in their subjective forms and colours. Where false instruction had destroyed the aptitude for original form, I found exercises which led the various students back to their appropriate forms. The subjective character can appear in various ways: in the proportions, the form character, in light and dark, in lines, in textures, in colours, and often in combination of these means of expression. There is a relationship between the shapes of man and the forms which he designs. The same forces which produce the specific shapes of a man according to his physical, spiritual, and intellectual constitution are able to influence the man's work. When a man is genuine, everything he does becomes a reflection of his own formative powers.