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A theory of pure design

Chapter 59: THE ARRANGEMENT AND COMPOSITION OF AREAS
By Denman Waldo Ross
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About This Book

The author defines design as order in human feeling and thought and analyzes its three principal modes—harmony, balance, and rhythm—then develops precise, often visual, criteria for applying those modes in drawing and painting. The book systematically treats positions, lines, outlines, tones, and sequences of values and colors, and sets out rules for tone-harmony, tone-balance, and tone-rhythm. Illustrated diagrams and examples accompany discussions of composition and of order found in nature, with the aim of clarifying artistic terms and providing a practical, teachable framework for understanding and criticizing visual design.

Fig. 226

In this case, for example, the eye follows the direction of convergences, but we can easily force it to turn and move in the opposite direction, by widening the lines in that direction, thus increasing the extent of contrasting edge until it more than outbalances the convergences; as in the following illustration:—

Fig. 227

THE ARRANGEMENT AND COMPOSITION
OF AREAS

121. What has been said about the composition of Lines and Outlines applies equally well to the composition of Areas, so far as they are distinguished and defined by outlines. We will now proceed to consider areas as distinguished and defined, not by outlines, but by tone-contrasts. The composition of lines and outlines is one thing, the composition of tones in different positions, measures, and shapes is another. In putting lines and outlines together we draw. The point of view is that of drawing. In putting tones in different positions, measures, and shapes we paint. The point of view is that of the painting.