A theory of pure design

•     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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