1. Borders. Divide a long space by vertical or oblique lines at regular
intervals. By connecting the ends of these with straight lines, develope
many series of meanders, frets and zigzags. Waves and scrolls are evolved
from these by changing straight to curved line, No. 20a, and p. 56. 26
2. Surface pattern. Subdivide a space (freehand) into squares, diamonds or
triangles, determining the size of the unit desired. This will give a
general plan for the distribution of figures. In one of these spaces
compose a simple group in straight lines, line and dot, or straight and
curved, if only geometric pattern be desired; or a floral form for a sprig
pattern. In the composition of this unit the principle of Subordination
will be remembered.
As soon as the unit is repeated a new set of relations will be created,
dependent upon the spacing. A secondary pattern forms itself out of the
background spaces. Hence the designer must decide whether the unit is to
fill the skeleton square completely, have a wide margin, or overrun the
square. Repeating the figure in these various ways will determine the best
size. The main effort should be given to producing a fine relation between
one unit and its neighbors and between pattern and background. All the
best work in Repetition has this refined harmony of spacing. No. 20b below
and pp. 13, 65, 66, 85. Copy the illustrations of Repetition in this book,
and make original variations of them. Copy, in line, the units of early
Italian textiles, Oriental rugs or any of the best examples to be found in
museums or in illustrated art‐books. See “Egg and Dart” from the
Parthenon, p. 30, also pp. 67, 121. For anatomy and planning of pattern,
see the works of Lewis F. Day.
[No 20. Surface Pattern]
SYMMETRY. The most common and obvious way of satisfying the desire for
order is to place two equal lines or shapes in exact balance, as in a
gable, windows each side of a door, or objects on a shelf. The term
Symmetry applies to three‐and four‐part groups, or others where even
balance is made, but here it refers mainly to a two‐part arrangement.
Sometimes construction produces Symmetry, as in the human body; ships;
Greek and Rennaissance architecture; furniture; pottery; books. Partly
from this cause and partly through imitation, Symmetry, like Repetition,
has come to be used in cheap and mean design where no regard is paid to
beauty of form. Japanese art, when influenced by Zen philosophy, as
Okakura Kakuzo tells us in “The Book of Tea”, avoids symmetry as
uninteresting. In Gothic art, the product of richly inventive and
imaginative minds, symmetry was never used in a commonplace way.
This Principle of Composition—when united to fine spacing,—produces, in
architecture an effect of repose and completeness; in design a type of
severely beautiful form, as seen in a Greek vase or the treasures of the
Sho‐so‐in at Nara where so much of the older Japanese art has been
preserved.
[No 21. Symmetry. Gemini, Amiens Cathedral.]
A few examples of Symmetry are given here; the student will readily find
others. Exercises can be easily devised, following the steps suggested
under other principles. See opposite, and Nos. 42, 43.
PROPORTION or GOOD SPACING. Principles of Composition, I must repeat, are
only ways of arranging lines and shapes; art is not produced by them
unless they are used in combination with this general principle,—Good
Spacing. They are by no means recipes for art, and their names are of
little consequence. Appreciation of fineness of relations must always
govern the method and form of composition. It is possible to use all the
principles here discussed, and to complete all the exercises, without
gaining much, if any, art experience. The main thing is the striving for
the best, the most harmonious, result that can be obtained. One way to
accomplish this is to compare and choose continually—making many designs
under one subject and selecting the best. The great general principle of
Proportion needs no special illustration or exercise, because it is so
intimate a part of all other principles and exercises. It may be studied
in every example of supreme art. It is the foundation of all the finest
work in line and mass. The mystery of Spacing will be revealed to the mind
that has developed Appreciation.
[No. 22. Subordination, Symmetry, Subordination and Repetition, Opposiion
and Subordination, Repetition, Repetition and Subordination.]
SYMMETRY. The most common and obvious way of satisfying the desire for
order is to place two equal lines or shapes in exact balance, as in a
gable, windows each side of a door, or objects on a shelf. The term
Symmetry applies to three‐and four‐part groups, or others where even
balance is made, but here it refers mainly to a two‐part arrangement.
Sometimes construction produces Symmetry, as in the human body; ships;
Greek and Rennaissance architecture; furniture; pottery; books. Partly
from this cause and partly through imitation, Symmetry, like Repetition,
has come to be used in cheap and mean design where no regard is paid to
beauty of form. Japanese art, when influenced by Zen philosophy, as
Okakura Kakuzo tells us in “The Book of Tea”, avoids symmetry as
uninteresting. In Gothic art, the product of richly inventive and
imaginative minds, symmetry was never used in a commonplace way.
[No. 23]
[Geometric, Variations.]