A theory of pure design

by Denman Waldo Ross

THE ATTITUDES OF OUTLINES

114. Any outline, no matter what dimensions or shape it has, may be turned upon a center and in that way made to take a great number and variety of attitudes. Not only may it be turned upon a center but inverted upon an axis. Being inverted, the inversion may be turned upon a center and made to take another series of attitudes, and this second series of attitudes will be different from the first series, except in cases of axial symmetry in the outline or area. It must be clearly understood that a change of attitude in any outline or area is not a change of shape.

115. What has been said of Harmony, Balance, and Rhythm in the attitudes of a line applies equally well to outlines and to the spaces defined by them.

THE ARRANGEMENT AND COMPOSITION
OF OUTLINES

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.

Fig. 194

In this case we have Shape-Harmony in the outlines and also a Harmony of Attitudes.

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].

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.

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.

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.

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.

Fig. 200

The addition of details, increasing in number from measure to measure upward, increases the movement of the rhythm in that direction.

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.

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.

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.

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.

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.

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.

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.

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.

Fig. 209

Here, for an example, is an instance of contact, with Harmony of Attitudes and a Symmetrical Balance on a vertical axis.

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.

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.

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.

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.

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.

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.

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.

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.