The Composition of Various Lines
105. In most of the examples I have given I have used repetitions of the same line or similar lines. When the lines which are put together are not in harmony, when they are drawn, as they may be, without any regard to the exigencies of orderly composition, the problem becomes one of doing the best we can with our terms. We try for the greatest possible number of orderly connections, connections making for Harmony, Balance, and Rhythm. We arrange the lines, so far as possible, in the same directions, giving them similar attitudes, getting, in details, as much Harmony of Direction and of Attitudes as possible, and establishing as much Harmony of Intervals as possible between the lines. By spacing and placing we try to get differences of character as far as possible into regular alternations or gradations in which there will be a suggestion either of Harmony or of Rhythm. A suggestion of Symmetry is sometimes possible. Occult Balance is possible in all cases, as it depends, not upon the terms balanced, but upon the indication of a center of attractions by a symmetrical framing of them.
Let us take seven lines, with a variety of shape-character, with as little Shape-Harmony as possible, and let us try to put these lines together in an orderly way.
With these lines, which show little or no harmony of character, which agree only in tone and in width-measure, lines which would not be selected certainly as suitable material for orderly compositions, I will make three compositions, getting as much Order into each one as I can, just to illustrate what I mean. I shall not be able to achieve a great deal of Order, but enough, probably, to satisfy the reader that the effort has been worth while.
In this case I have achieved the suggestion of a Symmetrical Balance on a vertical axis with some Harmony of Directions and of Attitudes and some Interval-Harmony.
In this case, also, I have achieved a suggestion of Order, if not Order itself. Consider the comparative disorder in Fig. 156, where no arrangement has been attempted.
Here is another arrangement of the same terms. Fortunately, in all of these cases, the lines agree in tone and in width-measure. That means considerable order to begin with.
This problem of taking any terms and making the best possible arrangement of them is a most interesting problem, and the ability to solve it has a practical value. We have the problem to solve in every-day life; when we have to arrange, as well as we can, in the best possible order, all the useful and indispensable articles we have in our houses. To achieve a consistency and unity of effect with a great number and variety of objects is never easy. It is often very difficult. It is particularly difficult when we have no two objects alike, no correspondence, no likeness, to make Harmony. With the possibility of repetitions and inversions the problem becomes comparatively easy. With repetitions and inversions we have the possibility, not only of Harmony, but of Balance and Rhythm. With inversions we have the possibility, not only of Balance, but of Symmetrical Balance, and when we have that we are not at all likely to think whether the terms of which the symmetry is composed are in harmony or not. We feel the Order of Symmetry and we are satisfied.
In this design I repeat an inversion of the arrangement in Fig. 158. The result is a symmetry, and no one is likely to ask whether the elements of which it is composed are harmonious or not. By inversions, single and double, it is possible to achieve the Order of Balance, in all cases.
For this design I have made another arrangement of my seven lines. The arrangement suggests movement. In repeating the arrangement at regular and equal intervals, without change of attitude, I produce the effect of Rhythm. Without resorting to inversion, it is difficult to make even an approximation to Symmetry with such terms (see Fig. 157), but there is little or no difficulty in making a consistent or fairly consistent movement out of them, which, being repeated at regular intervals, without change of attitude, or with a gradual change of attitude, will produce the effect of Rhythm.
Up to this point I have spoken of the composition of lines in juxtaposition, that is to say, the lines have been placed near together so as to be seen together. I have not spoken of the possibilities of Contact and Interlacing. The lines in any composition may touch one another or cross one another. The result will be a composition of connected lines. In certain cases the lines will become the outlines of areas. I will defer the illustration of contacts and interlacings until I come to consider the composition of outlines.