185. It is quite impossible for me, in this discussion of terms
and principles, to indicate, in any measure, the possibilities of
composition, in lines and spots of paint, in tones, measures, and
shapes. This is in no sense a Book of Designs. All I have undertaken to
do is to give a few very simple examples and to indicate the kind of
reasoning to be followed, recommending the same kind of reasoning in
all cases. There are three general rules, however, which I must state.
First. Given a certain outline and certain tones, measures, and shapes
to be put into it, it is the Problem of Pure Design to do the best we
can, getting as many connections making unity as possible. The process
is one of experimenting, observing, comparing, judging, arranging and
rearranging, taking no end of time and pains to achieve Order, the
utmost possible Order, if possible the Beautiful.
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.