116. By the composition of outlines I mean putting two or more
outlines in juxtaposition, in contact or interlacing. In all cases of
interlacing, of course, the shape-character of the interlacing outlines
is lost. The outlines become the outlines of other areas and of a
larger number of them. Our object in putting outlines together is, in
Pure Design, to illustrate the orders of Harmony, Balance, and Rhythm,
to achieve Order, as much as we can, if possible Beauty.
I will now give a series of examples with a brief analysis or
explanation of each one.
[Illustration: Fig. 194]
In this case we have Shape-Harmony in the outlines and also a Harmony
of Attitudes.
[Illustration: Fig. 195]
Here we have another illustration of the Harmony of Shapes and of
Attitudes, with a Harmony of Intervals, which we did not have in Fig.
194.
[Illustration: Fig. 196]
In this case we have a Harmony of Attitudes and of Intervals (the
Harmony of a repeated Relation of Intervals) in what may be called an
All-Over Repetition.
[Illustration: Fig. 197]
In this case we have a Harmony of Attitudes in the repetition of
a relation of two opposite attitudes; this with Shape-Harmony and
Interval-Harmony.
[Illustration: Fig. 198]
In this case we have a Symmetry of Attitudes, with Shape-Harmony and
Interval-Harmony. Turning the composition off the vertical axis we
should have Balance but no Symmetry. The balance-center will be felt in
all possible attitudes of this composition.
[Illustration: Fig. 199]
In this case I have repeated a certain outline, which gives me the
Harmony of a repetition,—this in connection with a progression in
scale, so that the Harmony is Shape-Harmony, not Measure-Harmony. We
have in the attitude of this repetition a Symmetrical Balance. The
movement is rhythmical and the direction of the rhythm is up.
The movement in Fig. 199 might be indefinitely increased by the
introduction into it of a gradation of attractions, increasing in
number. That means that the extent of contrasting edges is increased
from measure to measure.
[Illustration: Fig. 200]
The addition of details, increasing in number from measure to measure
upward, increases the movement of the rhythm in that direction.
[Illustration: Fig. 201]
Taking the arrangement of Fig. 199 and repeating it six times at
diverging angles of sixty degrees, we get what may be called a radial
balance upon the basis of a hexagon.
Outlines may be drawn one inside of the other or several inside of one.
[Illustration: Fig. 202]
This is a case of outlines-within-outlines and of Shape-Harmony without
Measure-Harmony. There is, also, a Harmony of Attitudes, but no Harmony
of Intervals.
Interesting results may be produced by drawing a series of outlines
similar in shape, the second inside of the first, the third inside of
the second, and so on.
[Illustration: Fig. 203]
In this case, for example, we have the outlines drawn one inside of the
other. The outlines have all the same shape, but different measures.
It is a case of Shape-Harmony and Harmony of Attitudes, without
Measure-Harmony, and without any Harmony of Intervals. This is a very
interesting and important form of Design which has many applications.
[Illustration: Fig. 204]
In this case, also, we have Shape-Harmony without Measure-Harmony. We
have a Harmony of Attitudes and also of Intervals, the spaces between
the outlines corresponding.
[Illustration: Fig. 205]
Here we have the Harmony of an alternation of Attitudes repeated, with
Shape-Harmony, without Measure-Harmony.
In all forms of design in which we have the concentric repetition
of a certain outline we have, in connection with the feeling of a
central balance, the feeling of a movement or movements toward the
center. These movements are due to convergences. Movements carrying
the eye away from the center, in opposite directions, interfere with
the feeling of balance. The feeling is enhanced, however, when the
movements converge and come together.
We may have not only an alternation of attitudes in these cases, but an
alternation of shape-character.
[Illustration: Fig. 206]
The repetition of outlines-within-outlines may be concentric or
eccentric. The repetition is concentric in Fig. 204. It is eccentric in
the example which follows.
[Illustration: Fig. 207]
In all eccentric repetitions like this we have a lack of balance and
the suggestion of movement. The direction of the movement is determined
by the direction of convergences and of the crowding together of
attractions. The movement in Fig. 207 is up-to-the-left, unmistakably.
Repeating the composition of Fig. 207, at regular intervals and without
change of attitude, the movement up-to-the-left would be extended to
the repetitions and the movement would be rhythmical. The movement is
rhythmical in the composition itself, as shown in Fig. 207, because the
movement in the composition is regular in character, regular in its
measures, and unmistakable in direction.
[Illustration: Fig. 208]
This is another example of eccentric repetition in
outlines-within-outlines. As in Fig. 207, we have movement, and the
movement is rhythmical.
In the examples I have given there have been no contacts and no
interlacings. Contacts and interlacings are possible.
[Illustration: Fig. 209]
Here, for an example, is an instance of contact, with Harmony of
Attitudes and a Symmetrical Balance on a vertical axis.
[Illustration: Fig. 210]
In this case we have contacts, with no Harmony of Attitudes. The
balance which is central as well as axial is in this attitude of the
figure symmetrical.
[Illustration: Fig. 211]
Here we have a similar composition with interlacings.
When the outlines have different shapes as well as different measures,
particularly when the outlines are irregular and the shapes to be put
together are, in themselves, disorderly, the problem of composition
becomes more difficult. The best plan is to arrange the outlines in
a group, making as many orderly connections as possible. Taking any
composition of outlines and repeating it in the different ways which
I have described, it is generally possible to achieve orderly if not
beautiful results.
[Illustration: Fig. 212]
Here are five outlines, very different in shape-character. Let us see
what can be done with them. A lot of experiments have to be tried,
to find out what connections, what arrangements, what effects are
possible. The possibilities cannot be predicted. Using tracing-paper, a
great many experiments can be tried in a short time, though it may take
a long time to reach the best possible results.
[Illustration: Fig. 213]
In this example I have tried to make a good composition with my five
outlines. The problem is difficult. The outlines to be combined
have so little Harmony. The only Harmony we can achieve will be the
Harmony of the same arrangement of shapes repeated, which amounts to
Shape-Harmony. Inversions will give us the satisfaction of Balance.
Inversions on a vertical axis will give us the satisfaction of
Symmetry. In the design above given I have achieved simply the Harmony
of a relation of shapes repeated, with Rhythm. The Rhythm is due to
the repetition of a decidedly unbalanced group of elements with a
predominance of convergences in one direction. The movement is on
the whole up, in spite of certain downward convergences. The upward
convergences predominate. There are more inclinations to the right
than to the left, but the composition which is repeated is unstable in
its attitude and suggests a falling away to the left. The resultant of
these slight divergences of movement is a general upward movement.
[Illustration: Fig. 214]
In this case I have less difficulty than in Fig. 213, having left out
one of my five outlines, the one most difficult to use with the others.
There is a great gain of Harmony. There is a Harmony of Intervals and
a Harmony in the repetition of the same grouping of outlines. In the
outlines themselves we have a Harmony of curved character, and the
curves fit one another very well, owing to a correspondence of measure
and shape-character in certain parts. In such cases we are able to
get considerable Harmony of Attitudes into the composition. There is
a Harmony of Attitudes in the repeats, as well as in certain details.
Comparing Fig. 214 with Fig. 213, I am sure the reader will agree that
we have in Fig. 214 the larger measure of Harmony.
[Illustration: Fig. 215]
In Fig. 215 I have used inversions and repetitions of the rather
disorderly outline which gave me so much difficulty when I tried to
combine it with the other outlines. Whatever merit the composition
has is due solely to the art of composition, to the presence of
Attitude-Harmony, Interval-Harmony, and to the inversions and
repetitions; inversions giving Balance, repetitions giving Harmony.
While it is important to recognize the limitation of the terms in this
problem, it is important to yield to any definite impulse which you may
feel, though it carries you beyond your terms. The value of a rule is
often found in breaking it for a good and sufficient reason; and there
is no better reason than that which allows you, in Design, to follow
any impulse you may have, provided that it is consistent with the
principles of Order.
[Illustration: Fig. 216]
In this case an effort has been made to modify the terms already used
so as to produce a more rapid and consistent movement. Advantage has
been taken of the fact that the eye is drawn into all convergences, so
all pointing down has been, so far as possible, avoided. The movement
is distinctly rhythmical.
In the previous examples I have avoided contacts and interlacing. It
was not necessary to avoid them.
[Illustration: Fig. 217]
117. What is done, in every case, depends upon the designer who does
it. He follows the suggestions of his imagination, not, however, with
perfect license. The imagination acts within definite limitations,
limitations of terms and of principles, limitations of certain modes in
which terms and principles are united. In spite of these limitations,
however, if we give the same terms, the same principles, and the same
modes to different people, they will produce very different results.
Individuality expresses itself in spite of the limitation of terms and
modes, and the work of one man will be very different from the work of
another, inevitably. We may have Order, Harmony, Balance, or Rhythm
in all cases, Beauty only in one case, perhaps in no case. It must be
remembered how, in the practice of Pure Design, we aim at Order and
hope for Beauty. Beauty is found only in supreme instances of Order,
intuitively felt, instinctively appreciated. The end of the practice of
Pure Design is found in the love of the Beautiful, rather than in the
production of beautiful things. Beautiful things are produced, not by
the practice of Pure Design, but out of the love of the Beautiful which
may be developed by the practice.