compositionserie0000dowa

the width; and still another (d) by chan¬
ging both height and width.
In No. 33 are students’ drawings of pot¬
tery profiles evolved from rectangles.
For brush work, in this exercise, it is well
to indicate the lines of the rectangle in
pale red, the pottery in black. Make
many sketches, select the best profiles,
improve them by tracing in ink, and com¬
pare with historic pieces.
Drawing from the finest examples of
pottery, and making original variations
of the forms, will aid in drawing from
the cast or the nude, because of the inti¬
mate study of the character of curves.
FLOWERS and other forms as LINE-
MOTIVES. The rectangular space may
be subdivided, as was the square, by a
simple line-motif,—flower, fruit, still life,
animal or figure,—following some Prin¬
ciple of Composition. In chapter III,»
under Subordination, an exercise was
suggested and illustrated; it could be
taken up again at this point, with new
subjects, for a study of Variation. As rect¬
angular compositions will be found un¬
der Notan and Color, it is not necessary
to consider them further here as pure
line, except in the case of Landscape,
to which a special chapter is given.
LINE
V.—COMPO¬
SITION IN
RECTANGLES
43