compositionserie0000dowa

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PRINCIPLESOF COMPOSI¬TIONIIISYMMETRY. The most common andobvious way of satisfying the desire fororder is to place two equal lines or shapesin exact balance, as in a gable, windowseach side of a door, or objects on a shelf.The term Symmetry applies to threeandfour-part groups, or others whereeven balance is made, but here it refersmainly to a two-part arrangement.Sometimes construction produces Sym¬metry, as in the human body; ships;Greek and Rennaissance architecture;furniture; pottery ; books. Partly fromthis cause and partly through imitation.Symmetry, like Repetition, has come tobe used in cheap and mean design whereno regard is paid to beauty of form.Japanese art, when influenced by Zenphilosophy, as Okakura Kakuzo tells usin “The Book of Tea”, avoids symmetryas uninteresting. In Gothic art, the prod¬uct of richly inventive and imaginativeminds, symmetry was never used in acommonplace way.This Principle of Composition — whenunited to fine spacing, — produces, in ar¬chitecture an effect of- repose and com¬pleteness ; in design a type of severelybeautiful form, as seen in a Greek vaseor the treasures of the Sho-so-in at Narawhere so much of the older Japanese arthas been preserved.A few examples of Symmetry are givenhere ; the student will readily find others.Exercises can be easily devised, follow¬ing the steps suggested under other prin¬ciples. See opposite, and Nos. 42, 43.PROPORTION or GOOD SPACING.Principles of Composition, I must re¬peat, are only ways of arranging linesand shapes; art is not produced by themunless they are used in combination withthis general principle, — Good Spacing.They are by no means recipes for art,and their names are of little consequence.Appreciation of fineness of relations mustalways govern the method and form ofcomposition. It is possible to use all theprinciples here discussed, and to com¬plete all the exercises, without gainingmuch, if any, art experience. The mainthing is the striving for the best, themost harmonious, result that can be ob¬tained. One way to accomplish this isto compare and choose continually —making many designs under one subjectand selecting the best.The great general principle of Propor¬tion needs no special illustration or exer¬cise, because it is so intimate a part of allother principles and exercises. It maybe studied in every example of supremeart. It is the foundation of all the finestwork in line and mass. The mystery ofSpacing will be revealed to the mindthat has developed Appreciation.28
PRINCIPLESOF COMPOSI¬TIONIIIC'^v.rese pcwccr V 3ostiNo.22*V. *A.'' -1 V'c^tcr Colo** f Reb€UU#r.1 Iron Escutcheons MFA6oiior,i-29
Page 3: \1-. \v ■i' 'V-
Page 6 and 7: Copyright, 1899, byArthur Wesi.ey D
Page 9 and 10: CONTENTS>PAGEBEGINNINGS .3,THE THRE
Page 11 and 12: BEGINNINGSIN writing this book my m
Page 13 and 14: As imperial art commissioner for th
Page 15 and 16: THE THREE ELEMENTSI. LINE — NOTAN
Page 17 and 18: and-light. Very young pupils should
Page 19 and 20: THE THREEELEMENTSI.—EXAM¬PLES OF
Page 21: THE THREEELEMENTSI.—EXAM¬PLES OF
Page 24 and 25: LINE DRAW¬INGII.—JAPA¬NESE MATE
Page 26: LINE DRAW¬INGII.—LINESBY MASTERS
Page 29 and 30: PRINCIPLES OF COMPOSITIONIIL—WAYS
Page 31 and 32: For convenience the suggestions for
Page 33 and 34: 25
Page 35: 2. Surface pattern. Subdivide a spa
Page 39 and 40: ' ' V*' 90% ' 1, t » t>' . * ^ '
Page 41 and 42: LINEIV. —COMPOSITION IN SQUARES A
Page 43 and 44: of any kind; sizes, shapes and dire
Page 45 and 46: APPLICATIONS1. Ginghams, plaids, em
Page 47 and 48: Some experience in choice of propor
Page 49 and 50: . t0 041
Page 51 and 52: the width; and still another (d) by
Page 53 and 54: represent nature’s forms, colors
Page 55 and 56: The art of landscape painting is a
Page 57 and 58: LINEVII.—COMPOSITION IN REPRESENT
Page 59 and 60: 51LINEVIL—COMPOSITION INREPRESEN
Page 61 and 62: NOTANVIII.—HARMONY-BUILDING WITH
Page 63 and 64: LETTERING. When forming part ofan a
Page 65 and 66: NOTANVIIILandscape compositions by
Page 67 and 68: NOTANIX.—TWO VALUES-VARIATIONS
Page 69 and 70: tectural ornament. The use of these
Page 71 and 72: paper. Effort must be concentrated
Page 73 and 74: # Ai>%iiL «►41Rug designs in two
Page 75 and 76: TEXTILE PATTERNS AND RUGSTWO VALUES
Page 77 and 78: NOTANX.-TWO VALUES-LANDSCAPE AND PI
Page 79 and 80: rNOTANX>Tiepolo • SwtU C«rBuniET
Page 81 and 82: No. 48 Sketches fram ivj.ture two v
Page 83 and 84: NOTANXL —TWO VALUES —GOTHIC SCU
Page 88:
NOTANXIportance to the student for
Page 91 and 92:
and in design, flatness is necessar
Page 93 and 94:
85NOTANXVI.THREEVALUES
Page 96 and 97:
NOTANXIIIWhiteScales of 5 and 7 val
Page 98 and 99:
NOTANXIIIILLUSTRATIONAfter some exp
Page 100 and 101:
NOTANXIIICompositions in more than
Page 102 and 103:
TNOTANXIII94
Page 104 and 105:
NOTANXIIIINK PAINTINGSupreme excell
Page 106 and 107:
NOTANXIII.INKPAINTING98
Page 108 and 109:
COLORXIV.—COLOR THEORYCOLOR, with
Page 110:
COLORTHEORYXIVonly statements of re
Page 113:
!5di □▼c< ► <ZikSSmt V
Page 117 and 118:
More applications can be made than
Page 119:
krf-■'jo9&•1 »
Page 122:
COLORFROMNOTANXVsubstitute a hue fo
Page 125 and 126:
COLORXVL —COLOR SCHEMES FROM JAPA
Page 127 and 128:
Copying Japanese prints is recommen
Page 129:
1L ^1 \ ^/%0-Li ww■;• • "'i m
Page 134 and 135:
COMPOSI¬TIONXVIIened, is laid upon
Page 136 and 137:
COMPOSI-TIONXVII. .PAINTINGhow to p
Page 138 and 139:
I114JAN2 21J5Date DueOC.^ '6^9. 4 -
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