COMPOSITION
THREE GENERAL RULES
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.
a
b
Fig. 233
Arrangement “a” is less orderly than arrangement “b,” so I have acted wisely in adding the other outlines.
a
b
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.
a
b
c
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.