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.