A theory of pure design - Denman Waldo Ross

PARAGRAPH INDEX

[1, p. 1]. The Meaning of Design.
[2, p. 1]. The Order of Harmony.
[3, p. 1]. The Order of Balance.
[4, p. 2]. The Order of Rhythm.
[5, p. 2]. Relations of Harmony, Balance, and Rhythm.
[6, p. 4]. Beauty a supreme instance of Order.
[7, p. 4]. The Arts as different modes of Expression.
[8, p. 5]. Drawing and Painting.
[9, p. 5]. Two modes of Drawing and Painting.
[10, p. 5]. Pure Design.
[11, p. 6]. Applied Design.
[12, p. 7]. Representation.
[13, p. 7]. Representation in Forms of Design.
[14, p. 9]. The Definition of Positions.
[15, p. 9]. The Relation of Directions and Distances.
[16, p. 10]. Directions defined.
[17, p. 11]. Distances defined.
[18, p. 11]. Positions determined by Triangulations.
[19, p. 11]. Intervals.
[20, p. 12]. Scale in Relations of Position.
[21, p. 12]. Harmony of Positions.
[22, p. 12]. Harmony of Directions.
[23, p. 13]. Harmony of Distances.
[24, p. 14]. Harmony of Intervals.
[25, p. 16]. Intervals in any series of Positions.
[26, p. 17]. Positions and their possibilities.
[27, p. 17]. Balance of opposite Directions.
[28, p. 17]. Balance of Distances in opposite Directions.
[29, p. 18]. Balance of Directions not opposite.
[30, p. 18]. Balance of Distances in Directions not opposite.
[31, p. 19]. Positions in Balance.
[32, p. 19]. Stable equilibrium of vertical and horizontal directions.
[33, p. 20]. Symmetry defined.
[34, p. 21]. The central axis should predominate in symmetrical Balances.
[35, p. 22]. Balance in Relations of Position, when inverted.
[36, p. 22]. Finding the center of equilibrium in unbalanced
relations of position. Indication of centers by
symmetrical inclosures.
[37, p. 24]. Tendency of symmetrical inclosures, when sufficiently
attractive, to prevent movement.
[38, p. 25]. How unstable equilibrium suggests movement.
[39, p. 26]. Rhythmic movement in a gradual increase in the number of
attractions through a series of visual angles.
[40, p. 27]. The possibilities of rhythmic movement in relations of position.
[41, p. 27]. Balanced attractions at equal intervals give no
movement, consequently no Rhythm.
[42, p. 28]. The gradual increase of attractions in a series of
visual angles, as produced by gradual changes of scale,
causes rhythmic movement.
[43, p. 28]. How unbalanced groups of positions being repeated at
equal intervals produce rhythmic movement.
[44, p. 29]. Rhythmic movements produced by the repetition of
unbalanced relations of position and by a gradual
diminution of scale.
[45, p. 30]. Rhythmic movements produced by the repetition of a
balanced relation of positions with a gradual diminution
of intervals, causing a gradual increase of attractions
through a series of visual angles.
[46, p. 30]. Rhythmic movements produced by the repetition of a
balanced relation of positions with diminution of
intervals and of scale.
[47, p. 31]. Rhythmic movements produced by the repetition of an
unbalanced relation of positions with a crowding due
to gradual diminution of intervals.
[48, p. 31]. Rhythmic movements produced by the repetition of an
unbalanced relation of positions with a diminution of
measure in the intervals and of scale in the groups.
The combination of two or more rhythms.
[49, p. 32]. The combination of two or more rhythms.
[50, p. 32]. Relations of position in different attitudes.
[51, p. 33]. Principal Attitudes.
[52, p. 34]. Harmony in Attitudes.
[53, p. 35]. Harmony in the repetition of any relation of attitudes.
[54, p. 35]. Balance in Attitudes.
[55, p. 36]. Rhythm in Attitudes.
[56, p. 37]. The Line.
[57, p. 37]. Changes of Direction in a line. Angles.
[58, p. 38]. Gradual changes of Direction in a line. Curves.
[59, p. 41]. Curves regarded as compositions of circular arcs.
[60, p. 42]. Differences of scale in lines.
[61, p. 42]. Differences of attractive force in lines.
[62, p. 44]. Harmony of Direction in lines.
[63, p. 44]. Harmony of Angles in lines.
[64, p. 45]. Harmony in Legs of Angles.
[65, p. 45]. Harmony in Curvatures.
[66, p. 46]. Harmony in Arcs when they have the same radius.
[67, p. 46]. Harmony in Arcs when they have the same angle.
[68, p. 47]. Linear Progressions.
[69, p. 47]. Variations of scale in Linear Progressions.
[70, p. 48]. Changes of Direction in Linear Progressions.
[71, p. 49]. Inversions in Linear Progressions.
[72, p. 50]. Balance in a Line.
[73, p. 51]. Appreciation of Balance in a line depends very much on
its attitude.
[74, p. 52]. Balance of Inclinations in a line.
[75, p. 54]. Finding the center of equilibrium of a line and
indicating that center by a symmetrical inclosure.
[76, p. 56]. Rhythm in a Line.
[77, p. 56]. Rhythm requires more than movement. The movement must
be in regular and marked measures.
[78, p. 57]. The number of repetitions required in a Rhythm.
[79, p. 57]. Contrary movements in Rhythms.
[80, p. 58]. Regular alternations in space not necessarily
rhythmical. That depends upon the character of the motive.
[81, p. 59]. Repetition and alternation without Rhythm.
[82, p. 59]. Rhythm due to gradation of scale.
[83, p. 60]. Rhythm due to the gradual increase in the number of
attractions from measure to measure.
[84, p. 61]. Rhythm in Spiral Concentrations.
[85, p. 63]. Direct and Contrary Motion in Spiral lines.
[86, p. 64]. The Balance of corresponding but opposed Rhythms.
[87, p. 64]. Lines in different Attitudes.
[88, p. 65]. Harmony in Attitudes of lines.
[89, p. 66]. Harmony in the repetition of any relation of attitudes.
[90, p. 66]. Balance in Attitudes of Lines.
[91, p. 67]. Rhythm in Attitudes of Lines.
[92, p. 68]. Recapitulation.
[93, p. 68]. The Composition of Lines.
[94, p. 69]. Harmony in the Composition of Lines.
[95, p. 70]. Measure-Harmony of ratios and of proportions.
[96, p. 70]. Elements making for Harmony in dissimilar lines.
[97, p. 73]. Balance in the Composition of Lines.
[98, p. 74]. Shape-Harmony without Measure-Harmony.
[99, p. 74]. Measure-Balance without Shape-Balance.
[100, p. 76]. The centers of equilibrium in mere measure-balances
should be indicated by symmetrical inclosures.
[101, p. 76]. Balance of Inclinations.
[102, p. 79]. Measure-Rhythm in the Composition of Lines.
[103, p. 80]. The combination of various types of rhythmic movement.
[104, p. 86]. Rhythm not necessarily inconsistent with Balance.
[105, p. 89]. The Composition of various lines.
[106, p. 96]. Outlines.
[107, p. 96]. Harmony, Balance, and Rhythm in Outlines.
[108, p. 102]. Interior Dimensions of an Outline.
[109, p. 102]. Harmony of Interior Dimensions.
[110, p. 104]. Convergence as a cause of movement.
[111, p. 108]. Rhythm of Convergence. Contrary Motion in Convergences.
[112, p. 109]. Changes of Direction in Convergences.
[113, p. 110]. Ideas of association in rhythmic movements. Rhythm in
changes of shape.
[114, p. 112]. Outlines in different Attitudes.
[115, p. 112]. Harmony, Balance, and Rhythm in the Attitudes of Outlines.
[116, p. 112]. The Composition of Outlines.
[117, p. 124]. The purpose of designing to induce the sense of Beauty
which is the cause of all that is fine in Design.
[118, p. 125]. Areas.
[119, p. 125]. Linear Areas.
[120, p. 125]. Changes of width-measure in Linear Progressions.
[121, p. 129]. Areas defined by outlines, and also by tone-contrasts.
[122, p. 131]. The Composition of Areas as defined by tone-contrasts.
[123, p. 131]. Difference between drawing and painting, if there is any.
[124, p. 131]. Definition of the word Tone.
[125, p. 132]. Tone-Analysis.
[126, p. 132]. The study of Tones and Tone-Relations.
[127, p. 133]. Pigment-Materials.
[128, p. 133]. The Scale of Neutral Values.
[129, p. 134]. Contrasts of the Scale of Values.
[130, p. 135]. Definition of Value-Relations.
[131, p. 136]. Scales of Colors in Different Values.
[132, p. 137]. Definition of the terms used to describe different Colors.
[133, p. 138]. Color-Intensities found in different values.
[134, p. 139]. Value-Relation of different Colors shown in the Spectrum.
[135, p. 139]. The Spectrum a sequence not a circuit; a circuit in
pigments only.
[136, p. 140]. The Complementaries.
[137, p. 140]. A General Classification of Tones as to Value, Color,
Color-Intensity, and Color-Neutralization.
[138, p. 141]. The distinction between Color-Intensities and
Color-Neutralizations.
[139, p. 141]. Definition of particular tones.
[140, p. 141]. Theoretical character of our classification of tones.
[141, p. 142]. Definition of particular tone-relations.
[142, p. 143]. Sequences of Values and Colors.
[143, p. 143]. The Sequence of Neutral Values.
[144, p. 144]. Vertical Sequences.
[145, p. 144]. Horizontal Sequences.
[146, p. 144]. Diagonal Sequences.
[147, p. 145]. Diagonal Sequences of the Right and Left Modes.
[148, p. 146]. Different Intervals in Diagonal Sequences.
[149, p. 146]. Peculiar value of the Diagonal Sequence of Colors at the
interval of the Fifth. The four Triads.
[150, p. 147]. Sequences in which a certain relation of intervals is repeated.
[151, p. 147]. The combination of two or more Vertical Sequences.
[152, p. 148]. The combination of two or more Horizontal Sequences.
[153, p. 149]. The Combination of Diagonal Sequences of the same and
different modes.
[154, p. 151]. Alternations in Vertical Sequences.
[155, p. 151]. Alternations in Horizontal Sequences.
[156, p. 151]. Alternations of different value-intervals in
color-sequences of equal intervals.
[157, p. 153]. Alternations of different color-intervals in
value-sequences of equal intervals. Particular
Sequences recommended.
[158, p. 153]. Possibility of extending the classification of values
and colors to a scale of seventeen values, including
Black and White.
[159, p. 154]. The method of using the Sequences described. Possible
extension of the sequence by mixtures.
[160, p. 165]. The value of the sequences found in the more definite thinking
which they make possible, and in the Harmony of repetitions.
[161, p. 156]. Considerations of position, measure, and shape in tone-relations.
[162, p. 158]. Tone-Harmony.
[163, p. 158]. Tones harmonized on the palette or by changes in the design.
[164, p. 159]. Value-Harmony.
[165, p. 161]. Color-Harmony.
[166, p. 163]. Harmony of proportional neutralizations.
[167, p. 164]. Value-Harmony and the Harmony of Proportional
Neutralizations combined.
[168, p. 167]. Harmony in the repetition of a certain relation of tones
not in itself harmonious.
[169, p. 170]. Harmony of a predominant tone in the repetition of a
certain relation of tones.
[170, p. 170]. The Harmony of a grayness induced by the opposition of
tones which neutralize one another in the sense of vision.
[171, p. 171]. Strong contrasts, inconsistent with Harmony, may be
perfectly consistent with both Balance and Rhythm.
[172, p. 172]. Tone-Balance in the abstract.
[173, p. 173]. Use of the Diagram of Values and Colors for the
calculation of tone-balances.
[174, p. 174]. Element of Color-Intensity in tone-balances.
[175, p. 174]. Tone-Balances always connected with Measure and
Shape-Balances.
[176, p. 175]. Tone and Measure-Balance.
[177, p. 175]. Tone-Relations in Single and in Double Inversions.
[178, p. 176]. Occult Tone, Measure and Shape-Balances.
[179, p. 178]. Further considerations on the same subject.
[180, p. 178]. Further considerations on the same subject.
[181, p. 181]. The effect of Representations in Tone-Balances.
[182, p. 182]. Tone-Rhythm.
[183, p. 184]. Attitudes in Tone-Rhythms.
[184, p. 185]. Inversions in Tone-Rhythms.
[185, p. 186]. Composition of tones, measures, and shapes.
Three general rules.
[186, p. 188]. Design and “Decoration.”
[187, p. 190]. The study of Order in Nature and in Works of Art.
[188, p. 190]. Method of study by Analysis with Synthetic Performance.
[189, p. 192]. Conclusion. The practice of Pure Design.
Its purpose and end.

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