Part 10

Second. When only an outline is given and we can put into it lines and spots of paint,—tones, measures, and shapes,—_ad libitum_, we must be sure that in the addition and multiplication of features we do not get less Order than we had in the simple outline with which we started, when it had nothing in it. As we proceed to add features we must be sure that we are not diminishing the order of the composition as a whole. If the composition as a whole is orderly, we do not want to make it less so by cutting it up and introducing additional attractions which may be disorderly and confusing. It may be harder to achieve Order with a greater number and variety of terms. We may deserve credit for overcoming this difficulty, but it is a difficulty which confronts us only when the terms are given and we have to make the best of them. When no terms are given, only a perfectly orderly outline, we should hesitate before we put anything into it. If we add anything we must be sure that it does not diminish, in the slightest degree, the order we had before, when we had nothing but the outline. The order of the whole must never be diminished.

Third. When we have an outline with certain tones, measures, and shapes in it, the question is: whether we can increase the order by adding other tones, other measures, or other shapes.

[Illustration: Fig. 233]

Arrangement “a” is less orderly than arrangement “b,” so I have acted wisely in adding the other outlines.

[Illustration: Fig. 234]

In this case, however, I have added features without achieving any increase of Order in the composition. The order is less than it was before. The additions have no interest from the point of view of Pure Design. I may add features for the sake of variety or novelty, to give a change of feeling, a new sensation, but such motives are not the motives of Pure Design. In Pure Design our motive is, always, to achieve Order, in the hope that in so doing we may achieve a supreme instance of it which will be beautiful.

[Illustration: Fig. 235]

Consider these illustrations. Arrangement “b” is more orderly than arrangement “a,” so I am justified in making the additions. The additions have brought occult balance into the composition with Direction and Interval-Harmony. Arrangement “c” is less orderly than “b,” less orderly than “a.” It has, therefore, no value for us. There is no merit in the multiplication of features which it exhibits. The surface is “enriched” at the expense of Direction-Harmony, Interval-Harmony, and Shape-Harmony. There may be an approximation to an occult balance in arrangement “c,” but you cannot feel it unmistakably as you do in “b.” Its value is, therefore, less.

186. I object to the word “decoration,” as commonly used by designers, because it implies that additions are likely to be improvements, that to multiply features, to enrich surfaces, is worth while or desirable. The fact is, that additions are, as a rule, to be avoided. There is no merit in the mere multiplication of features. It is a mistake. The rule of Pure Design, and it is the rule for all Design, is simplification rather than complication. As designers we ought to avoid additions, if possible.

We ought to make them only when in so doing we are able to increase the order of the whole. We make additions, indeed, to achieve the greater simplicity of Order, and for no other reason. Our object in all cases is to achieve Order, if possible a supreme instance of Order which will be beautiful. We aim at Order and hope for Beauty.

THE STUDY OF ORDER IN NATURE AND IN WORKS OF ART

187. In connection with the practice of Pure Design, as I have described it,—the composition and arrangement of lines and spots of paint; of tones, measures, and shapes: this in the modes of Harmony, Balance, and Rhythm, for the sake of Order and in the hope of Beauty,—the student should take up the study of Order in its three modes, as revealed in Nature and achieved in Works of Art.

188. The method of study should be a combination of analysis with synthetic reproduction. Taking any instance of Order, whether in Nature or in some work of Art, the first thing to do is to consider its terms,—its positions, its lines, its areas, its measure and space-relations, its tones and tone-relations,—bringing every element to separate and exact definition. The next thing to do is to note every occurrence of Harmony, of Balance, of Rhythm,—every connection making for consistency, unity, Order. In that way we shall get an exact knowledge of the case. We shall know all the facts, so far as the terms and the principles of Design are concerned. That is what I mean by analysis. By a synthetic reproduction I mean a reproduction of the effect or design, whatever it is, following the images which we have in mind as the result of our analysis. The reproduction should be made without reference to the effect or design which has been analyzed. There should be no direct imitation, no copying. We must not depend so much upon the memory as upon the imagination. Having reproduced the effect or design in this way, following the suggestions of the imagination, the reproduction should be brought into comparison with the effect or design reproduced and the differences noted. Differences should be carefully observed and the previous analysis should be reviewed and reconsidered. When this is done another attempt at reproduction should be made. This process should be repeated until the effect or design is thoroughly understood and imaginatively grasped. The evidence of understanding and comprehension will be seen in the reproduction which is made, which ought to have an essential but not a literal correspondence with the original. Analysis should precede; synthesis should follow.

I hope, in another book or books, to be published later, to give some examples of Order in natural objects or effects, also examples of Order in Works of Art, with a careful analysis of each one, showing how the points, lines, and areas, the measure and the space-relations, the tones and tone-relations come together in the forms of Harmony, Balance, and Rhythm, in the modes of Order, in instances of Beauty. In the mean time, as the methods of analytic study and of synthetic practice are clearly indicated in the preceding pages, the student who has taken pains to understand what he has read will find himself well prepared for the work. He can take up the study of Order in Nature and of Design in Works of Art without further assistance.

CONCLUSION

189. It does not follow, even when our minds, in consequence of the study and the practice which I have described, are richly stored with the terms and the motives of Design, that we shall produce anything important or remarkable. Important work comes only from important people. What we accomplish, at best, is merely the measure and expression of our own personalities. Nevertheless, though we may not be able to produce anything important, it is something to appreciate and enjoy what is achieved by others. If our studies and our work bring us to the point of visual discrimination, to æsthetic appreciation and enjoyment, and no farther, we are distinguished among men. The rarest thing in the world is creative genius, the faculty which creates great works. Next to that comes the faculty of appreciation. That, too, is rare. We must not believe that appreciation is easy. It is true that the recognition of Order is instinctive and spontaneous, but untrained people recognize it only in a few simple and obvious forms. Order in its higher forms—the order of a great number and variety of terms and of different principles in combination—lies altogether beyond the appreciation of untrained people. It is only as we are trained, exercised, and practiced in the use of terms and in following principles that we rise to the appreciation of great achievements. The sense of order, which we all have, in a measure, needs to be exercised and developed. The spontaneity of undeveloped faculty does not count for much. It carries us only a little way. Let no one believe that without study and practice in Design he can recognize and appreciate what is best in Design.

Appreciation and enjoyment are the rewards of hard thinking with hard work. In order to appreciate the masterpiece we must have some knowledge of the terms which the artist has used and the principles which he has followed. We know the terms only when we have ourselves used them, and the principles when we have tried to follow them. The reason why the appreciation of excellence in speech and in writing is so widespread is due to the fact that we all speak and write, constantly, and try, so many of us, to speak and write well. The reason why there is so little appreciation of excellence in other forms of art is due to the fact that the terms are not in general use and the principles are not understood, as they should be, in the light of personal experience and effort. It is for this reason that I am anxious to see the teaching and practice of Design introduced into the schools, public and private, everywhere, and into our colleges as well as our schools. I have no idea that many able designers will be produced, but what I expect, as a result of this teaching, is a more general understanding of Design, more interest in it, and more appreciation and enjoyment of its achievements. Among the many who will appreciate and enjoy will be found the few who will create and produce.

The purpose of what is called art-teaching should be the production, not of objects, but of faculties,—the faculties which being exercised will produce objects of Art, naturally, inevitably. Instead of trying to teach people to produce Art, which is absurd and impossible, we must give them a training which will induce visual sensitiveness with æsthetic discrimination, an interest in the tones, measures, and shapes of things, the perception and appreciation of Order, the sense of Beauty. In these faculties we have the causes of Art. Inducing the causes, Art will follow as a matter of course. In exercising and developing the faculties which I have named, which naturally and inevitably produce Art, we are doing all that can be done by teaching. There is no better training for the visual and æsthetic faculties than is found in the practice of Pure Design, inducing, as it does, discrimination in tones, measures, and shapes, and the appreciation of what is orderly and beautiful. The result of the practice will be a wide spread of visual and æsthetic faculty which will have, as its natural and inevitable result, the appreciation and the production of Works of Art.

Our object, then, in the study and practice of Pure Design is, not so much the production of Works of Art, as it is to induce in ourselves the art-loving and art-producing faculties. With these faculties we shall be able to discover Order and Beauty everywhere, and life will be happier and better worth living, whether we produce Works of Art, ourselves, or not. We shall have an impulse which will lead us to produce Works of Art if we can. At the same time we shall have the judgment which will tell us whether what we have done is or is not beautiful.

PARAGRAPH INDEX

1, p. 1. The Meaning of Design. 2, p. 1. The Order of Harmony. 3, p. 1. The Order of Balance. 4, p. 2. The Order of Rhythm. 5, p. 2. Relations of Harmony, Balance, and Rhythm. 6, p. 4. Beauty a supreme instance of Order. 7, p. 4. The Arts as different modes of Expression. 8, p. 5. Drawing and Painting. 9, p. 5. Two modes of Drawing and Painting. 10, p. 5. Pure Design. 11, p. 6. Applied Design. 12, p. 7. Representation. 13, p. 7. Representation in Forms of Design. 14, p. 9. The Definition of Positions. 15, p. 9. The Relation of Directions and Distances. 16, p. 10. Directions defined. 17, p. 11. Distances defined. 18, p. 11. Positions determined by Triangulations. 19, p. 11. Intervals. 20, p. 12. Scale in Relations of Position. 21, p. 12. Harmony of Positions. 22, p. 12. Harmony of Directions. 23, p. 13. Harmony of Distances. 24, p. 14. Harmony of Intervals. 25, p. 16. Intervals in any series of Positions. 26, p. 17. Positions and their possibilities. 27, p. 17. Balance of opposite Directions. 28, p. 17. Balance of Distances in opposite Directions. 29, p. 18. Balance of Directions not opposite. 30, p. 18. Balance of Distances in Directions not opposite. 31, p. 19. Positions in Balance. 32, p. 19. Stable equilibrium of vertical and horizontal directions. 33, p. 20. Symmetry defined. 34, p. 21. The central axis should predominate in symmetrical Balances. 35, p. 22. Balance in Relations of Position, when inverted. 36, p. 22. Finding the center of equilibrium in unbalanced relations of position. Indication of centers by symmetrical inclosures. 37, p. 24. Tendency of symmetrical inclosures, when sufficiently attractive, to prevent movement. 38, p. 25. How unstable equilibrium suggests movement. 39, p. 26. Rhythmic movement in a gradual increase in the number of attractions through a series of visual angles. 40, p. 27. The possibilities of rhythmic movement in relations of position. 41, p. 27. Balanced attractions at equal intervals give no movement, consequently no Rhythm. 42, p. 28. The gradual increase of attractions in a series of visual angles, as produced by gradual changes of scale, causes rhythmic movement. 43, p. 28. How unbalanced groups of positions being repeated at equal intervals produce rhythmic movement. 44, p. 29. Rhythmic movements produced by the repetition of unbalanced relations of position and by a gradual diminution of scale. 45, p. 30. Rhythmic movements produced by the repetition of a balanced relation of positions with a gradual diminution of intervals, causing a gradual increase of attractions through a series of visual angles. 46, p. 30. Rhythmic movements produced by the repetition of a balanced relation of positions with diminution of intervals and of scale. 47, p. 31. Rhythmic movements produced by the repetition of an unbalanced relation of positions with a crowding due to gradual diminution of intervals. 48, p. 31. Rhythmic movements produced by the repetition of an unbalanced relation of positions with a diminution of measure in the intervals and of scale in the groups. The combination of two or more rhythms. 49, p. 32. The combination of two or more rhythms. 50, p. 32. Relations of position in different attitudes. 51, p. 33. Principal Attitudes. 52, p. 34. Harmony in Attitudes. 53, p. 35. Harmony in the repetition of any relation of attitudes. 54, p. 35. Balance in Attitudes. 55, p. 36. Rhythm in Attitudes. 56, p. 37. The Line. 57, p. 37. Changes of Direction in a line. Angles. 58, p. 38. Gradual changes of Direction in a line. Curves. 59, p. 41. Curves regarded as compositions of circular arcs. 60, p. 42. Differences of scale in lines. 61, p. 42. Differences of attractive force in lines. 62, p. 44. Harmony of Direction in lines. 63, p. 44. Harmony of Angles in lines. 64, p. 45. Harmony in Legs of Angles. 65, p. 45. Harmony in Curvatures. 66, p. 46. Harmony in Arcs when they have the same radius. 67, p. 46. Harmony in Arcs when they have the same angle. 68, p. 47. Linear Progressions. 69, p. 47. Variations of scale in Linear Progressions. 70, p. 48. Changes of Direction in Linear Progressions. 71, p. 49. Inversions in Linear Progressions. 72, p. 50. Balance in a Line. 73, p. 51. Appreciation of Balance in a line depends very much on its attitude. 74, p. 52. Balance of Inclinations in a line. 75, p. 54. Finding the center of equilibrium of a line and indicating that center by a symmetrical inclosure. 76, p. 56. Rhythm in a Line. 77, p. 56. Rhythm requires more than movement. The movement must be in regular and marked measures. 78, p. 57. The number of repetitions required in a Rhythm. 79, p. 57. Contrary movements in Rhythms. 80, p. 58. Regular alternations in space not necessarily rhythmical. That depends upon the character of the motive. 81, p. 59. Repetition and alternation without Rhythm. 82, p. 59. Rhythm due to gradation of scale. 83, p. 60. Rhythm due to the gradual increase in the number of attractions from measure to measure. 84, p. 61. Rhythm in Spiral Concentrations. 85, p. 63. Direct and Contrary Motion in Spiral lines. 86, p. 64. The Balance of corresponding but opposed Rhythms. 87, p. 64. Lines in different Attitudes. 88, p. 65. Harmony in Attitudes of lines. 89, p. 66. Harmony in the repetition of any relation of attitudes. 90, p. 66. Balance in Attitudes of Lines. 91, p. 67. Rhythm in Attitudes of Lines. 92, p. 68. Recapitulation. 93, p. 68. The Composition of Lines. 94, p. 69. Harmony in the Composition of Lines. 95, p. 70. Measure-Harmony of ratios and of proportions. 96, p. 70. Elements making for Harmony in dissimilar lines. 97, p. 73. Balance in the Composition of Lines. 98, p. 74. Shape-Harmony without Measure-Harmony. 99, p. 74. Measure-Balance without Shape-Balance. 100, p. 76. The centers of equilibrium in mere measure-balances should be indicated by symmetrical inclosures. 101, p. 76. Balance of Inclinations. 102, p. 79. Measure-Rhythm in the Composition of Lines. 103, p. 80. The combination of various types of rhythmic movement. 104, p. 86. Rhythm not necessarily inconsistent with Balance. 105, p. 89. The Composition of various lines. 106, p. 96. Outlines. 107, p. 96. Harmony, Balance, and Rhythm in Outlines. 108, p. 102. Interior Dimensions of an Outline. 109, p. 102. Harmony of Interior Dimensions. 110, p. 104. Convergence as a cause of movement. 111, p. 108. Rhythm of Convergence. Contrary Motion in Convergences. 112, p. 109. Changes of Direction in Convergences. 113, p. 110. Ideas of association in rhythmic movements. Rhythm in changes of shape. 114, p. 112. Outlines in different Attitudes. 115, p. 112. Harmony, Balance, and Rhythm in the Attitudes of Outlines. 116, p. 112. The Composition of Outlines. 117, p. 124. The purpose of designing to induce the sense of Beauty which is the cause of all that is fine in Design. 118, p. 125. Areas. 119, p. 125. Linear Areas. 120, p. 125. Changes of width-measure in Linear Progressions. 121, p. 129. Areas defined by outlines, and also by tone-contrasts. 122, p. 131. The Composition of Areas as defined by tone-contrasts. 123, p. 131. Difference between drawing and painting, if there is any. 124, p. 131. Definition of the word Tone. 125, p. 132. Tone-Analysis. 126, p. 132. The study of Tones and Tone-Relations. 127, p. 133. Pigment-Materials. 128, p. 133. The Scale of Neutral Values. 129, p. 134. Contrasts of the Scale of Values. 130, p. 135. Definition of Value-Relations. 131, p. 136. Scales of Colors in Different Values. 132, p. 137. Definition of the terms used to describe different Colors. 133, p. 138. Color-Intensities found in different values. 134, p. 139. Value-Relation of different Colors shown in the Spectrum. 135, p. 139. The Spectrum a sequence not a circuit; a circuit in pigments only. 136, p. 140. The Complementaries. 137, p. 140. A General Classification of Tones as to Value, Color, Color-Intensity, and Color-Neutralization. 138, p. 141. The distinction between Color-Intensities and Color-Neutralizations. 139, p. 141. Definition of particular tones. 140, p. 141. Theoretical character of our classification of tones. 141, p. 142. Definition of particular tone-relations. 142, p. 143. Sequences of Values and Colors. 143, p. 143. The Sequence of Neutral Values. 144, p. 144. Vertical Sequences. 145, p. 144. Horizontal Sequences. 146, p. 144. Diagonal Sequences. 147, p. 145. Diagonal Sequences of the Right and Left Modes. 148, p. 146. Different Intervals in Diagonal Sequences. 149, p. 146. Peculiar value of the Diagonal Sequence of Colors at the interval of the Fifth. The four Triads. 150, p. 147. Sequences in which a certain relation of intervals is repeated. 151, p. 147. The combination of two or more Vertical Sequences. 152, p. 148. The combination of two or more Horizontal Sequences. 153, p. 149. The Combination of Diagonal Sequences of the same and different modes. 154, p. 151. Alternations in Vertical Sequences. 155, p. 151. Alternations in Horizontal Sequences. 156, p. 151. Alternations of different value-intervals in color-sequences of equal intervals. 157, p. 153. Alternations of different color-intervals in value-sequences of equal intervals. Particular Sequences recommended. 158, p. 153. Possibility of extending the classification of values and colors to a scale of seventeen values, including Black and White. 159, p. 154. The method of using the Sequences described. Possible extension of the sequence by mixtures. 160, p. 165. The value of the sequences found in the more definite thinking which they make possible, and in the Harmony of repetitions. 161, p. 156. Considerations of position, measure, and shape in tone-relations. 162, p. 158. Tone-Harmony. 163, p. 158. Tones harmonized on the palette or by changes in the design. 164, p. 159. Value-Harmony. 165, p. 161. Color-Harmony. 166, p. 163. Harmony of proportional neutralizations. 167, p. 164. Value-Harmony and the Harmony of Proportional Neutralizations combined. 168, p. 167. Harmony in the repetition of a certain relation of tones not in itself harmonious. 169, p. 170. Harmony of a predominant tone in the repetition of a certain relation of tones. 170, p. 170. The Harmony of a grayness induced by the opposition of tones which neutralize one another in the sense of vision. 171, p. 171. Strong contrasts, inconsistent with Harmony, may be perfectly consistent with both Balance and Rhythm. 172, p. 172. Tone-Balance in the abstract. 173, p. 173. Use of the Diagram of Values and Colors for the calculation of tone-balances. 174, p. 174. Element of Color-Intensity in tone-balances. 175, p. 174. Tone-Balances always connected with Measure and Shape-Balances. 176, p. 175. Tone and Measure-Balance. 177, p. 175. Tone-Relations in Single and in Double Inversions. 178, p. 176. Occult Tone, Measure and Shape-Balances. 179, p. 178. Further considerations on the same subject. 180, p. 178. Further considerations on the same subject. 181, p. 181. The effect of Representations in Tone-Balances. 182, p. 182. Tone-Rhythm. 183, p. 184. Attitudes in Tone-Rhythms. 184, p. 185. Inversions in Tone-Rhythms. 185, p. 186. Composition of tones, measures, and shapes. Three general rules. 186, p. 188. Design and “Decoration.” 187, p. 190. The study of Order in Nature and in Works of Art. 188, p. 190. Method of study by Analysis with Synthetic Performance. 189, p. 192. Conclusion. The practice of Pure Design. Its purpose and end.

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