Part 5

In this case the two movements part company. One leads the eye up-to-the-left, the other leads it up-to-the-right. The movement as a whole is approximately up. As the direction of the intervals is horizontal, not vertical, this is a case of movement without Rhythm. The movement will become rhythmic only in a vertical repetition. That is to say, the direction or directions of the movement in any Rhythm and the direction or directions of its repetitions must coincide. In Fig. 139, the movement is up-to-the-right, and the intervals may be taken in the same direction, but in Fig. 147 the movement is up. The intervals cannot be taken in that direction. It is, therefore, impossible to get any feeling of Rhythm from the composition. We shall get the feeling of Rhythm only when we repeat the movement in the direction of the movement, which is up.

[Illustration: Fig. 148]

Here we have a vertical repetition of the composition given in Fig. 147. The result is an upward movement in regular and marked intervals, answering to our understanding of Rhythm.

[Illustration: Fig. 149]

In this case we have a curved movement. The lines being spaced at regular intervals, the movement is in regular and marked measures. Its direction is due to an increase in the number of attractions, to crowding, and to convergences. The movement is, accordingly, rhythmical.

[Illustration: Fig. 150]

The movement of Fig. 149 is here partly destroyed by an inversion and opposition of attitudes and directions. The movement is, on the whole, up, but it can hardly be described as rhythmical, because it has no repetition upwards, as it has in the next illustration, Fig. 151. Before proceeding, however, to the consideration of Fig. 151, I want to call the attention of the reader to the fact that we have in Fig. 150 a type of Balance to which I have not particularly referred. It is a case of unsymmetrical balance on a vertical axis. The balancing shapes and movements correspond. They incline in opposite directions. They diverge equally from the vertical axis. The inclinations balance. At the same time the composition does not answer to our understanding of Symmetry. It is not a case of right and left balance on the vertical axis. The shapes and movements are not right and left and opposite. One of the shapes is set higher than the other. The balance is on the vertical. It is obvious, but it is not symmetrical. It is a form of Balance which has many and very interesting possibilities.

[Illustration: Fig. 151]

The repetition, in this case, of somewhat contrary movements, a repetition at equal intervals on a vertical axis, gives us more Balance than Rhythm. We feel, however, a general upward movement through the repetitions and, as this movement is regular, it must be described as rhythmical.

The feeling of upward movement in Fig. 151 is, no doubt, partly due to the suggestion of upward growth in certain forms of vegetation. The suggestion is inevitable. So far as the movement is caused by this association of ideas it is a matter, not of sensation, but of perception. The consideration of such associations of ideas does not belong, properly, to Pure Design, where we are dealing with sense-impressions, exclusively.

104. Rhythm is not inconsistent with Balance. It is only necessary to get movements which have the same or nearly the same direction and which are rhythmical in character to balance on the same axis and we have a reconciliation of the two principles.

[Illustration: Fig. 152]

Here we have a Rhythm, of somewhat contrary movements, with Balance,—Balance on a diagonal axis. The Balance is not satisfactory. The Balance of Inclinations is felt more than the Balance of Shapes.

[Illustration: Fig. 153]

In this case we have the combination of a Rhythm of somewhat contrary, but on the whole upward, movements with Symmetry.

If the diverging movements of Fig. 153 should be made still more diverging, so that they become approximately contrary and opposite, the feeling of a general upward movement will disappear. The three movements to the right will balance the three movements to the left, and we shall have an illustration of Symmetrical Balance, with no Rhythm in the composition as a whole. It is doubtful whether the balance of contrary and opposite movements is satisfactory. Our eyes are drawn in opposite directions, away from the axis of balance, instead of being drawn toward it. Our appreciation of the balance must, therefore, be diminished. Contrary and opposite movements neutralize one another, so we have neither rest nor movement in the balance of contrary motions.

By bringing the divergences of movement together, gradually, we shall be able to increase, considerably, the upward movement shown in Fig. 153. At the same time, the suggestion of an upward growth of vegetation becomes stronger. The increase of movement will be partly explained by this association of ideas.

[Illustration: Fig. 154]

Here all the movements are pulled together into one direction. The Rhythm is easier and more rapid. The Balance is just as good. The movement in this case is no doubt facilitated by the suggestion of upward growth. It is impossible to estimate the force which is added by such suggestions and associations.

[Illustration: Fig. 155]

Here the movements come together in another way.

The number and variety of these illustrations might, of course, be indefinitely increased. Those which I have given will, I think, serve to define the principal modes of line-composition, when the lines are such as we choose to draw.

THE COMPOSITION OF VARIOUS LINES

105. In most of the examples I have given I have used repetitions of the same line or similar lines. When the lines which are put together are not in harmony, when they are drawn, as they may be, without any regard to the exigencies of orderly composition, the problem becomes one of doing the best we can with our terms. We try for the greatest possible number of orderly connections, connections making for Harmony, Balance, and Rhythm. We arrange the lines, so far as possible, in the same directions, giving them similar attitudes, getting, in details, as much Harmony of Direction and of Attitudes as possible, and establishing as much Harmony of Intervals as possible between the lines. By spacing and placing we try to get differences of character as far as possible into regular alternations or gradations in which there will be a suggestion either of Harmony or of Rhythm. A suggestion of Symmetry is sometimes possible. Occult Balance is possible in all cases, as it depends, not upon the terms balanced, but upon the indication of a center of attractions by a symmetrical framing of them.

Let us take seven lines, with a variety of shape-character, with as little Shape-Harmony as possible, and let us try to put these lines together in an orderly way.

[Illustration: Fig. 156]

With these lines, which show little or no harmony of character, which agree only in tone and in width-measure, lines which would not be selected certainly as suitable material for orderly compositions, I will make three compositions, getting as much Order into each one as I can, just to illustrate what I mean. I shall not be able to achieve a great deal of Order, but enough, probably, to satisfy the reader that the effort has been worth while.

[Illustration: Fig. 157]

In this case I have achieved the suggestion of a Symmetrical Balance on a vertical axis with some Harmony of Directions and of Attitudes and some Interval-Harmony.

[Illustration: Fig. 158]

In this case, also, I have achieved a suggestion of Order, if not Order itself. Consider the comparative disorder in Fig. 156, where no arrangement has been attempted.

[Illustration: Fig. 159]

Here is another arrangement of the same terms. Fortunately, in all of these cases, the lines agree in tone and in width-measure. That means considerable order to begin with.

This problem of taking any terms and making the best possible arrangement of them is a most interesting problem, and the ability to solve it has a practical value. We have the problem to solve in every-day life; when we have to arrange, as well as we can, in the best possible order, all the useful and indispensable articles we have in our houses. To achieve a consistency and unity of effect with a great number and variety of objects is never easy. It is often very difficult. It is particularly difficult when we have no two objects alike, no correspondence, no likeness, to make Harmony. With the possibility of repetitions and inversions the problem becomes comparatively easy. With repetitions and inversions we have the possibility, not only of Harmony, but of Balance and Rhythm. With inversions we have the possibility, not only of Balance, but of Symmetrical Balance, and when we have that we are not at all likely to think whether the terms of which the symmetry is composed are in harmony or not. We feel the Order of Symmetry and we are satisfied.

[Illustration: Fig. 160]

In this design I repeat an inversion of the arrangement in Fig. 158. The result is a symmetry, and no one is likely to ask whether the elements of which it is composed are harmonious or not. By inversions, single and double, it is possible to achieve the Order of Balance, in all cases.

[Illustration: Fig. 161]

For this design I have made another arrangement of my seven lines. The arrangement suggests movement. In repeating the arrangement at regular and equal intervals, without change of attitude, I produce the effect of Rhythm. Without resorting to inversion, it is difficult to make even an approximation to Symmetry with such terms (see Fig. 157), but there is little or no difficulty in making a consistent or fairly consistent movement out of them, which, being repeated at regular intervals, without change of attitude, or with a gradual change of attitude, will produce the effect of Rhythm.

Up to this point I have spoken of the composition of lines in juxtaposition, that is to say, the lines have been placed near together so as to be seen together. I have not spoken of the possibilities of Contact and Interlacing. The lines in any composition may touch one another or cross one another. The result will be a composition of connected lines. In certain cases the lines will become the outlines of areas. I will defer the illustration of contacts and interlacings until I come to consider the composition of outlines.

OUTLINES

DEFINITION OF OUTLINES

106. Outlines are lines which, returning to themselves, make inclosures and describe areas of different measures and shapes. What has been said of lines may be said, also, of outlines. It will be worth while, however, to give a separate consideration to outlines, as a particularly interesting and important class of lines.

As in the case of dots and lines, I shall disregard the fact that the outlines may be drawn in different tones, making different contrasts of value, color, or color-intensity with the ground-tone upon which they are drawn. I shall, also, disregard possible differences of width in the lines which make the outlines. I shall confine my attention, here, to the measures and shapes of the outlines and to the possibilities of Harmony, Balance, and Rhythm in those measures and shapes.

HARMONY, BALANCE, AND RHYTHM IN OUTLINES

107. What is Harmony or Balance or Rhythm in a line is Harmony, Balance, or Rhythm in an Outline.

[Illustration: Fig. 162]

In this outline we have Measure-Harmony in the angles, Measure-Harmony of lengths in the legs of the angles, Measure and Shape-Balance on a center and Symmetry on the vertical axis. The same statement will be true of all polygons which are both equiangular and equilateral, when they are balanced on a vertical axis.

[Illustration: Fig. 163]

In this case we have Measure-Harmony of angles but no Measure-Harmony of lengths in the legs of the angles. We have lost Measure and Shape-Balance on a center which we had in the previous example.

[Illustration: Fig. 164]

In this case the angles are not all in a Harmony of Measure; but we have Measure-Harmony of lengths in the legs of the angles, and we have Measure and Shape-Balance on a center. There is a certain Harmony in the repetition of a relation of two angles.

[Illustration: Fig. 165]

In this case we have Measure-Harmony in the angles, which are equal, and a Harmony due to the repetition of a certain measure-relation in the legs of the angles. As in Fig. 162, we have here a Measure and Shape-Balance on a center and Symmetry on the vertical axis. This polygon is not equilateral, but its sides are symmetrically disposed. Many interesting and beautiful figures may be drawn in these terms.

[Illustration: Fig. 166]

We have in the circle the most harmonious of all outlines. The Harmony of the circle is due to the fact that all sections of it have the same radius and equal sections of it have, also, the same angle-measure. The circle is, of course, a perfect illustration of Measure and Shape-Balance on a center. The balance is also symmetrical. We have a Harmony of Directions in the repetition of the same change of direction at every point of the outline, and we have a Harmony of Distances in the fact that all points of the outline are equally distant from the balance-center, which is unmistakably felt.

[Illustration: Fig. 167]

The Ellipse is another example of Measure and Shape-Balance on a center. In this attitude it is also an illustration of Symmetry.

[Illustration: Fig. 168]

In this case we still have balance but no symmetry. The attitude suggests movement. We cannot help feeling that the figure is falling down to the left. A repetition at equal intervals would give us Rhythm.

[Illustration: Fig. 169]

In this case we have an outline produced by the single inversion of a line in which there is the repetition of a certain motive in a gradation of measures. That gives Shape-Harmony without Measure-Harmony. This is a case of Symmetrical Balance. It is also a case of rhythmic movement upward. The movement is mainly due to convergences.

[Illustration: Fig. 170]

In this case, also, the shapes repeated on the right side and on the left side of the outline show movements which become in repetitions almost rhythmical. The movement is up in spite of the fact that each part of the movement is, in its ending, down. We have in these examples symmetrical balance on a vertical axis combined with rhythm on the same axis. It may be desirable to find the balance-center of an outline when only the axis is indicated by the character of the outline. The principle which we follow is the one already described. In Fig. 169 we have a symmetrical balance on a vertical axis, but there is nothing to indicate the balance-center. It lies on the axis somewhere, but there is nothing to show us where it is. Regarding the outline as a line of attractions, the eye is presumably held at their balance-center, wherever it is. Exactly where it is is a matter of visual feeling. The balance-center being ascertained, it may be indicated by a symmetrical outline or inclosure, the center of which cannot be doubtful.

[Illustration: Fig. 171]

The balance-center, as determined by visual feeling, is here clearly indicated. In this case besides the balance on a center we have also the Symmetry which we had in Fig. 169.

[Illustration: Fig. 172]

The sense of Balance is, in this case, much diminished by the change of attitude in the balanced outline. We have our balance upon a center, all the same; but the balance on the vertical axis being lost, we have no longer any Symmetry. It will be observed that balance on a center is not inconsistent with movement. If this figure were repeated at equal intervals without change of attitude, or with a gradual change, we should have the Rhythm of a repeated movement.

In some outlines only certain parts of the outlines are orderly, while other parts are disorderly.

[Illustration: Fig. 173]

In the above outline we have two sections corresponding in measure and shape-character and in attitude. We have, therefore, certain elements of the outline in harmony. We feel movement but not rhythm in the relation of the two curves. There is no balance of any kind.

We ought to be able to recognize elements of order as they occur in any outline, even when the outline, as a whole, is disorderly.

[Illustration: Fig. 174]

In order to balance the somewhat irregular outline given in Fig. 173, we follow the procedure already described. The effect, however, is unsatisfactory. The composition lacks stability.

[Illustration: Fig. 175]

The attitude of the figure is here made to conform, as far as possible, to the shape and attitude of the symmetrical framing: this for the sake of Shape and Attitude-Harmony. The change of attitude gives greater stability.

INTERIOR DIMENSIONS OF AN OUTLINE

108. A distinction must be drawn between the measures of the outline, as an outline, and the measures of the space or area lying within the outline: what may be called the interior dimensions of the outline.

[Illustration: Fig. 176]

In this case we must distinguish between the measures of the outline and the dimensions of the space inclosed within it. When we consider the measures—not of the outline, but of the space or area inside of the outline—we may look in these measures, also, for Harmony, for Balance, or for Rhythm, and for combinations of these principles.

HARMONY IN THE INTERIOR DIMENSIONS OF AN OUTLINE

109. We have Harmony in the interior dimensions of an outline when the dimensions correspond or when a certain relation of dimensions is repeated.

[Illustration: Fig. 177]

In this case we have an outline which shows a Harmony in the correspondence of two dimensions.

[Illustration: Fig. 178]

In this case we have Harmony in the correspondence of all vertical dimensions, Harmony in the correspondence of all horizontal dimensions, but no relation of Harmony between the two. It might be argued, from the fact that the interval in one direction is twice that in the other, that the dimensions have something in common, namely, a common divisor. It is very doubtful, however, whether this fact is appreciable in the sense of vision. The recurrence of any relation of two dimensions would, no doubt, be appreciated. We should have, in that case, Shape-Harmony.

[Illustration: Fig. 179]

In this circle we have a Measure-Harmony of diameters.

[Illustration: Fig. 180]

In this case we have a Harmony due to the repetition of a certain ratio of vertical intervals: 1:3, 1:3, 1:3.

110. Any gradual diminution of the interval between opposite sides in an outline gives us a convergence in which the eye moves more or less rapidly toward an actual or possible contact. The more rapid the convergence the more rapid the movement.

[Illustration: Fig. 181]

In this case we have not only symmetrical balance on a vertical axis but movement, in the upward and rapid convergence of the sides BA and CA toward the angle A. The question may be raised whether the movement, in this case, is up from the side BC to the angle A or down from the angle A toward the side BC. I think that the reader will agree that the movement is from the side BC into the angle A. In this direction the eye is more definitely guided. The opposite movement from A toward BC is a movement in diverging directions which the eye cannot follow to any distance. As the distance from BC toward A decreases, the convergence of the sides BA and CA is more and more helpful to the eye and produces the feeling of movement. The eye finds itself in a smaller and smaller space, with a more and more definite impulse toward A. It is a question whether the movement from BC toward A is rhythmical or not. The movement is not connected with any marked regularity of measures. I am inclined to think, however, that the gradual and even change of measures produces the feeling of equal changes in equal measures. If so, the movement is rhythmical.

When the movement of the eye in any convergence is a movement in regular and marked measures, as in the example which follows, the movement is rhythmical, without doubt.

[Illustration: Fig. 182]

The upward movement in this outline, being regulated by measures which are marked and equal, the movement is certainly rhythmical, according to our understanding and definition of Rhythm. Comparing Fig. 181 with Fig. 182, the question arises, whether the movement in Fig. 182 is felt to be any more rhythmical than the movement in Fig. 181. The measures of the movement in Fig 181 are not marked, but I cannot persuade myself that they are not felt in the evenness of the gradation. The movement in Fig. 181 is easier than it is in Fig. 182, when the marking of the measures interferes with the movement.

[Illustration: Fig. 183]

In this case we have another illustration like Fig. 182, only the measures of the rhythm are differently marked. The force of the convergence is greatest in Fig. 181. It is somewhat diminished by the measure-marks in Fig. 182. It is still further diminished, in Fig. 183, by the angles that break the measures.

[Illustration: Fig. 184]

In this case the movement is more rapid again, the measures being measures of an arithmetical progression. There is a crowding together of attractions in the direction of the convergence, and the movement is easier than it is in Fig. 183, in spite of the fact that the lines of convergence are more broken in Fig. 184. There is an arithmetical diminution of horizontal as well as of vertical lines in Fig. 184.

[Illustration: Fig. 185]

In this case the measures of the rhythm are in the terms of a geometrical progression. The crowding together of attractions is still more rapid in this case and the distance to be traversed by the eye is shorter. The convergence, however, is less compelling, the lines of the convergence being so much broken—unnecessarily.

The movement will be very much retarded, if not prevented, by having the movement of the crowding and the movement of the convergence opposed.

[Illustration: Fig. 186]

There is no doubt that in this example, which is to be compared with that of Fig. 184, the upward movement is almost prevented. There are here two opposed movements: that of the convergence upward and that of a crowding together of attractions downward. The convergence is stronger, I think, though it must be remembered that it is probably easier for the eye to move up than down, other things being equal.

111. The movements in all of these cases may be enhanced by substituting for the straight lines shapes which are in themselves shapes of movement.

[Illustration: Fig. 187]

Here, for example, the movement of Fig. 184 is facilitated and increased by a change of shape in the lines, lines with movement being substituted for lines which have no movement, beyond the movement of the convergence.

[Illustration: Fig. 188]

In Fig. 188 all the shapes have a downward movement which contradicts the upward movement of convergence. The movement down almost prevents the movement up.

112. The movement of any convergence may be straight, angular, or curved.

[Illustration: Fig. 189]

In this case the movement of the convergence is angular. It should be observed that the movement is distributed in the measures of an arithmetical progression, so that we have, not only movement, but rhythm.

[Illustration: Fig. 190]