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Art of Composition
Art of Composition
THE ART or
Composition
:!
A Simple
AppliGation of
Dy namie Symmetry
MlCHELJACoBS
ONTARIO COUESE OF
ART
100 McCA'JL
TORONTO
2B,
ST.
ONTARIO
ofWRio
mm m
Of
McCAUL ST
^^^Omo 28, ONTARIO
^'^
ESTUDIANTF.
study
in
<ic
BAIl.K
in
100
82790
St
THE
ART OF COMPOSITION
^ Simple Application of Dynamic
Symmetry
BY
MICHEL JACOBS
8279
NEW YORK
GARDEN CITY
ART
OHTARIO COHERE OF
ICO K'.cCAUL
TORONTO
2B,
ST.
ONTARIO
CITY, N. Y.
DEDICATION
Our
we
toil
But
and spin
if
we
be-
fruits
of our
more
beautiful,
tions.
M.J.
FOREWORD
HIS
book
is
Much
of
Many
own interpretation on this system of comwhen you consider the basic principles from
which they have to draw. The variety of compositional layouts are innumerable. I have only attempted to show some of the possibilities, and
it is for the artist to work out for himself many more layouts based on this
position.
This
is
only natural,
system.
I
wish to
book
is
only
Sym-
metry, and I fervently believe and hope that the readers, after they have
perused these pages, will continue their study with the number of books
on the
called,
artists'
composition,
I also
wish to
call
to
namic
lines
and
areas, or
lines
on their ground
glass.
Advertising agencies and printers will find that their layouts of type matter can
It can also
Fais,
me
Michel
tH
Jacobs.
CONTENTS
INTRODUCTION
xviii
CHAPTER ONE: COMPOSITION IN GENERAL
i
CHAPTER TWO: DYNAMIC SYMMETRY
13
CHAPTER THREE: DIFFERENT ROOTS OR FORMS AND PROPORTION OF PICTURES
21
CHAPTER FOUR: POINTS OF INTEREST
33
CHAPTER FIVE: WHIRLING SQUARE ROOT
44
CHAPTER SIX: ROOT ONE
49
TWO
CHAPTER SEVEN: ROOT
60
EIGHT:
THREE
CHAPTER
ROOT
71
NINE:
CHAPTER
ROOT FOUR
77
CHAPTER TEN ROOT FIVE
82
CHAPTER ELEVEN: COMBINED ROOTS
85
CHAPTER TWELVE: MORE COMPLEX COMPOSITIONS
99
COMPOSITION
IN
CHAPTER THIRTEEN: GROUND
PERSPECTIVE, SHOWING THE THIRD DIMENSION
117
CHAPTER FOURTEEN: COMPOSITION OF MASS, LIGHT AND
120
SHADE
126
CHAPTER FIFTEEN: COMPOSITION OF COLOUR
CHAPTER SIXTEEN: A FEW MATHEMATICS OF DYNAMIC
:
SYMMETRY
GLOSSARY
129
,
139
ILLUSTRATIONS
PAGE
De
EsTUDiANTE
Baile
Frotitisftece
iD
Action, Fig. 2
The
Lion, Fig.
Animals
in
5A
Action, Fig. 5B
The
The Camel,
Ram, Fig. sC
5D
Fig.
Fig. 7
Fig. 9
Weight
Weight
Weight Subdivided
i i
Fig.
14A
Fig.
Sunflower,
Fig.
10
II
Fig.
Tangents Overlapping,
Fig. 16
14
14
17
Fig. 18
14
Fig. 19
15
16
16
Fig. 21
Fig.
Indian,
16
21B
The
The
148
15
The
10
Halftone
17
Duchess, Halftone
Sequence of Area
in
Whole Numbers,
18
Fig. 22
19
Root
21
Root
21
Fig. 25
22
22
ILLUSTRATIONS
xii
PAGE
24
Root One,
Fig. 28
25
Root Two,
Fig.
25
Root Three,
Root Four,
Root
29
Fig.
26
30
Fig. 31
27
Five, Fig. 32
27
28
Fig. 33
Fig.
29
34.
Fig. 35
29
30
32
Root
37, Fig. 38
32
33
33
34
Fig. 42
34
The
The
34
35
Halftone
36
in
in
Sequence, Fig. 44
Sequence,
The
Fig.
46
39
39
Lines, Fig. 52
How
41
4*
Fig. 54
43
Fig. 55
40
40
37
39
The Old
37
38
Dancer: based on
37
38
The
Fig. 45
44
Fig. 57
4$
45
Designs, Fig. 58
Fig. 59
46
'
ILLUSTRATIONS
xiii
PAGB
47
in
in
Sequence,
Fig. 6i
47
50
Sequence, Fig. 62
Two
and
Three's, Fig. 64
50
The
The
Halftone
Gipsy,
Courtship, Halftone
S*
Root One with Three Root Two's Overlapping with Two Quadrant
Fig.
Arcs,
66
S3
Tree on the
Two On Top
and
On
S3
Side, Fig. 68
53
69
S3
One
5S
56
57
58
59
Two
Root
Illustrative
The
Method of Enlarging
in
60
60
in Proportion, Fig. 71
Root Two,
Fig. 72
Two
in
Sequence
The
62
Two
and
Two
Root Two's
in
Se-
62
in
62
63
63
64
64
One's and
Sequence, Fig. 79
65
65
66
Overlapping, Fig. 82
Root
Two
Fig. 84
in
Root
Two
66
66
Two
ILLUSTRATIONS
xiv
PACE
Layouts of Page 68
69
70
71
71
Fig. 88 ...
72
7*
in
Sequence, Fig.
90
73
73
74
75
The
76
Will, Halftone
77
Four's, Fig. 93
78
Two Root
78
Two
Root Two's
Overlapping, Fig. 95
79
in
Sequence and
Two Root
One', Fig. 97
79
80
80
Two Root
Four's and
Two Whirling
Squares, Fig. 99
82
Layouts
82
100
in
84
Root Five
Fig. ioi
85
85
Two Root
86
86
Two
Root
Willows: based on
Root
Two
Fig. 105
86
Fig. 107
87
87
no
86
88
Fig.
hi
._.....
89
89
ILLUSTRATIONS
xv
Root Three with Three Root Three's with Diagonals and Parallel
Fig.
Lines,
90
113
i i
3, Fig.
114
90
Root Three with Three Root Three's Upright, Parallels, and Diagonals,
Fig.
91
115
16
91
Root Three with Three Root Three's and Numbers of Parallels at Intersections, Fig.
A Border
117
91
Six
91
18
Fig. 119
92
92
Halftone
93
94
Root Four with Four Root Four's and Parallel Lines Through Intersections AND Diagonals, Fig. 121
95
The Wave:
Four's and
95
123
based on Fig.
The
Two Root
i
Two Root
23, Fig.
Five's
96
24
Fig. 125
97
Two
Root
Fig.
Divided into
29
into
97
Fig.
127
98
98
Complex Forms
Three Equal
lOO
lOi
130
102
102
103
103
Square
104
36
Root Five and a Root Five at Each End With Diagonals and Parallel
Fig.
104
Lines,
105
137
105
Root Five with a Root Five on Each End with Diagonals from Corners and
Parallels Through Center Both Ways, Fig. 139
106
Warrior: based on Fig.
39, Fig.
140
106
ILLUSTRATIONS
xvi
PAOI
A Form
The
Less
Gossips: based
Fig. 141
Progressive Steps of
107
Poses of
Dynamic
Poses of
109
no
Dynamic
107
1 1
ill
113
114
115
Layouts
in
Perspective of Root
One with
Root Two,
Fig. 143
Two Whirling
Square Roots,
Fig. 14S
16
17
18
'
*9
119
I20
Fig. 147
121
Fig. 148
Fig. 149
122
Fig. 150
122
124
The
125
Fig. 151
131
131
The
The
134
135
Inside of
the Rectangle,
Fig. 155
Fig. 153
Fig. 154
137
137
138
INTRODUCTION
RCHiEOLOGISTS
Greeks
useci
Dynamic Symmetry,
Swa/tci
<n)/i/itTpoi
in the
it is
necessary to
guard
to
against.
make
make
this
is
have taken up
Dynamic
Symmetry with other forms of composition long since recognized. Undoubtedly, there are many roads: some intertwine; few diverge to such an
I
made
this
tents.
On
matical
and
difficult to
understand,
numbers
might believe,
to describe
One
science
often hears of
artists
who
in
themselves.
If they were
students of psychology, they would see that they are absorbing from others,
Another peculiar
fact, those
who do
into their
life fall
Painting and drawing have been taught since the days of Ancient Greece
by what
is
known
as "feeling."
This
xvii
is
all
xviii
sound knowledge of construction, of colour, of perspective, and of composition, all based on nature's laws, has been learned and absorbed before "feeling"
is
permitted
to
be
Above
expressed.
artist's
all,
when he
is
mannered, lacking
in
knowledge,
this
this
work
will
become
stilted,
is
have tried
to
is
nature's laws.
In the
last chapter, I
who
it is
Dynamic Symmetry
is
But
must
"whys"
stress that
in this the
satisfied
most
logical
with
and
Symmetry
in all his
work.
artist
It will also
and photographer
to use
Dynamic
CHAPTER ONE: COMPOSITION IN GENERAL
OMPOSITION
thought that
is
is
in the artist's
mind.
We
and shade
artist.
We
is
FIG. lA.
COMPOSITION OF MASS
FIG. iB.
.,
COMPOSITION OF VALUE
2
1.
2.
is
5.
Composition of colour.
6.
Composition of Perspective.
(See
Fig. iD.)
The
first
glance, holds our attention, should be the principal object; the eye should
then be led to other things which take us from this principal object to
FIG. iC.
COMPOSITION OF LINE
FIG. iD.
COMPOSITION OF PERSPECTIVE
other forms that are associated in a minor key, and which help to express
the idea, to be in
harmony
made
to select
A work of art
from."
Whistler once
is
said,
is
Our whole
Man
trivial
FIG.
2.
3.
is
happenings.
him
LINES OF ACTION
FIG.
existence
UNES OF DIGNITY
personally.
FIG.
4.
LINES OF REST
2); the perpendicular (or upright) lines express dignity and strength (Fig.
when running,
is
FIG. sA.
THE LION
FIG. sB.
ANIMALS IN ACTION
FIG. sC.
THE RAM
FIG. sD.
THE CAMEL
The
tinued movement.
Hogarth
lines of grace
The
rhythm.
of
circle gives
The
and
continuity,
on account
its
As a matter of
and
The
if
mind of
forcibly than if
form
fact, all
will be associ-
we did
make use of
not
it
more
looker.
is
If
the board extends equally over each end of the centre rest or fulcrum, it
If we put a child on each end of the seesaw,
(Fig. 6.)
will balance itself.
of equal weight,
some
it
we put
end
will immediately
we
If
like-
(Fig. 8.)
ance evenly.
and unless
force or weight
ance, but if
it
it
(Fig. 9.)
we put one of
make
the balance go
down and
(Fig. 10.)
If
own weight.
If we shorten
is
long enough,
it
will balance
by
Fig. 11.)
the seesaw on the end with the child and lengthen the other
end, the child on the short end will be thrown in the air (Fig. 12), and the
long end will go down; but if we increase the weight on the short end sufficiently,
it
end
to an equal balance.
(Fig. 13.)
FIG.
6.
EVEN BALANCE
FIG.
7.
FIG.
8.
UNEVEN BALANCE
FIG.
9.
FIG.
JO.
FIG.
II.
This gives us a very simple idea of weight, balance, and action, for when
the seesaw
is
of the seesaw
going
to, or
down and
should, happen to
we
we have
make them
feel that
it
rest,
balance.
Each time
that
is
we
the action.
We
keep
can do this also by placing a stick under the long end to apparently
it
up
in the air,
satisfied if this
support for
the long end were heavy enough, in our mind, to hold the board up.
(Figs. 14A, 14B.)
FIG.
13.
FIG.
13.
DIS-
10
All of these examples give you the mechanics of composition, for balance
in composition
is
completeness of form.
Dynamic Symmetry
balances.
If
we look
at the
word
DYNAMIC
and immediately
word
itself,
motion.
Mr. Hambidge
it
associate
it
with
expresses in the
named
his re-
discovery "Dynamic Symmetry," 8i/a/t oviintTpoi^ the Greeks had themIt is based on nature's
selves already named it by the Greek synonym.
Everyone must recognize that nature
leaf distribution and proportion.
FIG. 14A.
FIG. 14B.
Maker of
own purposes and enjoyment.
for our
It is for us
PIG.
The Royal
IS.
is
poor mortals to
them
Botanical Society of
ii
London
Taking the seeds of a sunflower pod, which they grew in all sizes, they
found these seeds arrayed in a large spiral form, running from the centre,
and also in a smaller spiral. (Fig. 15.) Whatever size the sunflower was
12
To
explain: if
we were
spiral
to write the
numbers
i, 2, 3, 4, 5, 6, 7, 8, 9,
lO,
4, 6, 8, 10, 12,
enumerated.
This
is
YNAMIC SYMMETRY
position
way of
means a
form of com-
certain
good proportion, so that it is pleasing to the eye. Numerous ways of getting composition have been tried since
the world began.
Dynamic Symmetry is the method by
which the Greeks built their temples and their gods. In
the Middle Ages, a different form of composition was used.
The Japanese, Chinese, and others used different forms.
Remember, while Dynamic Symmetry is a wonderful thing,
Dynamic Symmetry
it is not the only way of getting a good composition.
really means a composition of spaces or areas, one in harmony or sequence
with another. There is a composition of line, of space (notan, as the Japanese call it), as described by Dow, and of mechanical balance as described
by Poor. An artist who wishes to express action, animation, or movement,
will find that Dynamic Symmetry answers better for all his requirements.
This form of composition is a composition of action, which does not necessarily mean that a figure has to be in motion, but simply that the lines or
masses express motion.
In Dynamic Symmetry the compositional forms
express motion, as in Figs, i to 15.
Opposed to this form of composition
is
one called
static,
or
still
a bi-symmetrical composition
is
often a
static
composition.
Dynamic Symmetry
is
you look
at
in a simple,
common-sense way.
is
a measure of space.
Dynamic Symmetry composition is not a thing that will make you meit bears the same relationship as perspective to composition.
If
you know the laws of perspective, you draw the perspective free hand.
By drawing a square, you make Root One. The diagonal of Root One
is the length of Root Two; the diagonal of Root Two is the length of Root
Three; the diagonal of Root Three is the length of Root Four; and the
If the Greeks
diagonal of Root Four is the length of Root Five, etc.
they
would
it
measure
the
ground
of
a
temple,
say
was so many
wanted to
Root One's, Two's, Three's, or other roots. If you paint a picture and
chanical, as
13
you
will
have
form
a well-proportioned
to
of space to be covered.
Inside of this
form we may
and we want
know where
to
One should
think of composi-
means of expressing
tion as a
and
FIG.
6.
of the onlooker,
this reaction is
based on
If
we were
cles in
to
draw two
cir-
same
sensation is given when you
look at a circle or other form
of
This
composition.
about
the
strike
to
frame, as
is
FIG.
17.
picture
illustrated in Fig.
17-
we
If
cut
it
mind
overlap the
with
is
the
circle or
frame, our
immediately
associ-
which
overlap
have passed,
FIG.
i8.
TANGENTS OVERLAPPING
indefinitely
(Fig. 19.)
infinite,
which
15
is
always inter-
The
It is
as things forgot" should be carried out in the pictorial arts so that the be-
on the psychological
effect
The
This
is
of his arrangement.
the
is
seesaw.
portrayed in the
support
air,
the
in
is
with the
our
centre,
this
air is
FIG.
19.
(Fig. 8.)
Especially
Whereas,
if
the seesaw
is
heavily weighted on the end resting on the ground, and the part that
lighter or without weight,
the air
is
action,
we
we do
it
is
in
no chance of
more
and
This should also be carried out, as was explained before, in your picture.
One
is
is
nothing more or
less
than
the psychological reaction of the beholder j that they are satisfied or dissatisfied
On
(Fig. 20.)
fighters.
If a
fist
of
as
*^
i6
309,
500,
3427,
etc.
21 18,
1309,
i,
show the
to
relationship
nature to composition.
If
of
we
FIG.
20.
diagonal with a
end of which
the corner, and which
line (one
rests in
crosses
we
By drawing
a line parallel
FIG.
2i.\.
have
produced
the
original
in a
As the origi-
form measured
by
8,
the
meets,
we
form which
will
have a smaller
measure 2 by
FIG. aiB.
THE INDIAN
JACX)BS
THE DUCHESS
In Root
Two
FIG. 22.
SEQUENCE OF AREA
IN
WHOL NUMBERS
20
shall
By
you have made smaller forms in the large rectangle, or forms in sequence which will measure in the summation of i, 2, 3 5, 8 j the same as if
we strike high "C" or low "C" on the piano. It is the same sound, only
that
one
is,
so to speak, greater in
its
TARTING
one must
at the
first
To
we
The
Diagonal:
line,
any oblique
line.
(Fig.
23-)
FIG.
Crossing Line:
43.
line
to the
agonal
(Fig.
24)
at
right
angles.
FIG.
24.
21
22
FIG.
Lines:
Parallel
drawn
straight
across
Lines
the
section (Fig.
parallel to
inter-
(Fig. 26.)
23
avoid confusion and to enable the reader to pick out the roots at sight,
each root.
by a
line
made with a
by a
line
made with
series of
dots:
-*
t-
.^
by a
line
made with
a series
_ _
angles:
.*
a series of
^ ^
line
made with
a series of
a line
made with
a series of
by a
*. _
designated by a line
made
,,a *9.a
diagonal and crossing lines as well as lines which do not form an-
The
By
this
guish readily the roots which are contained in the grand mass.
If there are two roots, one overlapping the other, for example, a Root
One
example,
if
would be designated by a
spirals:
One
made
a Root
line
<_
-^
made
.*-.--.. .<-
<
Another example would be, if a Root Three contained two other roots,
Two and a Whirling Square Root, it would be designated by a cross,
a Root
a spiral,
and a dash:
all
.+.
--
--
of these symbols.)
number of the
root.
have marked
number of the
known
as
S,
which
W.S.; the
24
DOOT5
.ONE
^
^ ^ ^ ^ ^ ^ ^ ^ ^ ^
^^
^^
^^^ jr\NO
THREE
^^ ^^^
^ ^FOUR
FIVE
_ ^ ^^^^^^^^^ SQUARE
e.,eec.e<.ecWHIRLING
"
-
'
-t_
--^-^-
^
THREEdndFlVE
THREEandtheWHIRLING SQUARE-* _e _e__ _e_
FOURandFIVE.
^
^^x
FOURdnd the WHIRLING SQUARE^ e-^e ^e^e^^^o^
FIVE andthe WHIRLING SQUARE^ ^e.^e G->^r
^^^^^^^
FIG.
J7.
^^^
Root One
if
is
by the other
I
25
One
It
side,
so
you
we
is
Root
FIG.
28.
ROOT ONE
Root Two
If
we measure
the diago-
we
get the
length of Root
square itself
is
(10.20 centimetres).
inches (7.65
10.20
we
4^4 inches
4 'A
Inches fl0.20Cent(metep3)FIG.
29.
ROOT TWO
26
measurement
is
By simply
compass on the corner of the square and the other point on the opposite far
will
30)
measure about 3
if
5'A Inches
FIG.
Root Four
far corners of
By
dOAO
30.
Centimeters)
ROOT THREE
measure about
same square.
Two
3X6
inches (7.65
and one
Root Five
site far
corners of Root Four, you will find out the length of Root Five,
Fig.32.
6"/i6 inches
(7.65
17.70 centimetres) as in
^
^
^
'ft
^f
J^
.
u^
gr-
Ih
If
t
^
1
fU
-6- Inches
FIG.
32.
Centimeters)
ROOT FIVE
27
28
This
from all of
the foregoing roots.
We find out this by taking a square and marking off
half of one side; we measure the diagonal of this half, using the same 3-inch
root
is
little
different
square.
this diagonal,
By
the length of the Whirling Square Root; using again the width of the
original square for the small end, the
4^'^
inches (7.65
f6<i G
V*
do
<o;
if
t9
<>
4% Inches(l3.50&ntimeters)
FIG.
33.
Another way to form the root of the Whirling Square is to take a square,
and from the centre of one side draw a half circle this arc will touch the
This will give you a Whirling Square Root on each
corners of the square.
j
By
taking
small Whirling Square Roots or oblongs, you will have a Whirling Square
is
a square
FIG.
34-
29
All
One and
laying
it
Three you
will
down
Two, you
down
the
diagonal of Root Four, you will have the length of Root Five, as in Fig. 35.
FIG.
35.
30
All of
Draw
make
corners,
By
again drawing a diagonal line from the corner of the square to the
draw the
Two
parallel line to
circle.
Any
will be
line
found
to be a
photographer
It
Five,
etc.,
bear a rela-
For example,
other roots, and, likewise. Root Five contains all the other roots, so that,
FIG.
36.
is
I will
by using
show how
A very simple method of finding out what is the root of any shape would
be to use a compass on the small end, measure
off the
31
it
is
called
For example, if the oblong measures 3 by 4% and you diby 3 (the length of the short side), it would give you 1.41 +.
You would know this to be a Root Two rectangle. (See Proportion of
Roots, Chapter Sixteen.)
Another example: if the rectangle measured 5 by 7.07 1 inches and you divided it by the short side, namely 5 inches,
the Reciprocal.
vided
this
would again be 1.4 142. This would show that it was also Root
Two. If you have a form which measures 3 by 6 inches and you divide
the long side by fhe short side (6 divided by 3 is 2.000), you know that this
is the number which shows that the proportion is a Root Four.
Inversely, if you wish to know the measurement of the long side of any
root and you know the dimension of the short side, multiply the short side
by the number of the root that you wish to use, called the Reciprocal, as
shown in Chapter Sixteen; this will give you the length of the long side.
These measurements are only approximate, and are used only to make the
idea more comprehensible to the beginner.
the result
AND FIVE
N THE
tion to
in the
preceding chapter,
make our
we have found
picture
major shape.
By
we
a
taking Root
shall
Two
Root One,
have
simpler
form
to
ex-
ginning
metry
Dynamic SymAs we
composition.
of
explained
in
the
previous
little
FIG.
37.
Roots Two,
So, as I have said above,
we
Root Two.
After
cross
it
with
which
rests
in
the
corner,
right
angles,
continuing
the
oblong,
38.
IN
32
two
lincs
cross
as
is
illus-
where these
will
be one
artistic centres
of the rectangle.
may
is
it
It will be,
33
of course, understood
known, the
may be
may
ners.
or lying on
side, as
its
is
cor-
be upright
illustrated in
Any
may
we were
If
cross
wc
it
Again,
(Fig. 41.)
and draw on
it
we
all
it
four
look
You
FIG.
39-
COUNTRY ROAD
will notice
on
4.I,
pal point of interest, another the second point of interest, another the
We
ple
have shown
way of
interest
in
now
a sim-
getting points of
the
flat
plane in
Root Two.
may be
applied to Roots
out
in
When
compo-
construction, namely,
p,g
5^jll life
34
FIG. 4.
FIG. 4*.
POINTS OF INTEREST
FIG.
AND FOURTH
43.
LITTLE MISS
MUFFET
Two
THE HILLSIDE
form
less
than Root
Two
JACX)BS
FIG.
FIG.
FIG.
45.
46.
44.
37
38
It
is
make the composition exactly on these lines. The composition would become too mechanical if this were done. Perspective is used by an architect
The architect's drawing is hard, cold
in a different way than by a painter.
and
mechanically
perfect,
painter's perspective
is
whereas
the
FIG.
47.
Figs.
interest,
is
illustrated in
Continuing to make
this
we now have
eight places to
from as our principal points of inand seven points of interest in Sequence. We also have a number of
crossing lines which we can use more or
select
terest
less in
our composition, as
is
illustrated in
49 and 50.
Another way that we could use Root
One would be to draw the diagonal line,
and then, with a compass, draw a quarter circle to find out
the smaller roots inside of a square, as we explained in ChapFigs.
ter Three,
we would have
[|^
39
Now, if we draw a line where the quarter circle crosses the diagonal, as
if we were going to find out the Root Two (as is explained in Fig. 36, Chapter Three), and if we do this on both sides and ends, we shall have a layout of lines for a composition which will be as
^T- T "^r?
is
shown
in Fig. 52.
We can
40
FIG.
FIG.
THE OLD
53GARDEN
FASHIONED
LEL LINES
different roots
and layouts
can be kept for future reference, which will help the painter to correct the
original
If you take a
number of small
picture.
drawn upon
and standing
off
lines,
it
with water-
eye,
the corrections to be
made
in
it
conform nearer to
how
this
In Fig. 54
is
an illustration show-
desire
my
New
York,
book
Two
IN
THE WOODS
FIG.
54.
43
CHAPTER
FIVE:
E REMEMBER
half,
this
Taking
a diagonal
this
it
line
long,
we
into
will form, as
line,
and by drawing a
we have
on one
Sequence of
we
will
squares,
have produced
a compositional layout
in
Dynamic Symmetry
is
shown
We
in Fig. s^-
have mentioned,
FIG.
that nature
grows
in
55.
the Greek
we
shall
If
is
so well known.
If
^
*
^\c
*
?
^y"^^ ^
-''o
we
with a continuous
w^
to
shall
line,
have a spiral in
..^.v
We,
of course,
know
one of nature's
phenomena.
all
seen
^^row
off
We
the
fire
have
pinwheel
from a
showing us
FIG.
We
S7.
this spiral in
many
in Fig. 58 for
45
some of
FIG.
Look
these.
s8.
at the illustrations
46
We now wish to know how to use nature's way of making rhythmic curves
which
is
ist is
how
scientific
is
called a logarithmic
It can
it.
it
not necessary to do
but simply
this, as at
present
we
are
it,
art-
it is
This
world and
Many scientists have studied this phase of nature's laws, but the
curve.
how
Whirling
to reproduce this
can reproduce
it
than
I believe,
is
generally
All composition, in no
matter what root, should partake somewhat of this flowing, rhythmic, compositional form: in the mind of the author.
Perhaps it is a new departure from the generally accepted ideas of Dy-
which takes
feeling,
me
it is
this
spiral in
we have
the things
seen
Whirling Square or
mind.
It
swers
the
perfectly
well-known Hogarth
lines of grace and
beauty, and while in
this
we
chapter
will
chapter,
derful
FIG.
59-
will
it
shown how
this
spiral
be
won-
can
be
used in compound
forms that will help
One of the ways in
which the Whirling Square can be used would be to take this form
and draw the layout or plan, as in Fig. 57, and then to compose a
picture using the eye or centre of the
cipal
point
of
interest,
radiating
the
Whirling Square
lines
more
or
as our prin-
less
from
this
47
and using other points as second and third points of interest, etc.
is done by first dividing the large or first square in half, drawing the
diagonal in each half, and crossing the diagonal with the crossing line and
parallel line, as shown in Fig. 59.
In Fig. 60 we have shown a composition
centre,
This
FIG. 61.
48
There
You
is
shown
Root
Two inside
of a square.
we have used
as
much of
we
thought would carry out the idea, both of the spirals and of the quarter
circle
It
in
may now
Sequence
line.
be seen that you can divide this square or the other squares
In a later chapter,
we
will take
O PLACE
a composition in a square, as
we have
explained
of these roots
Root Five.
in the square,
you
Some of
It will
line.
is
more
pleasing, as
it
gives
the spiral can be used in all roots, not alone in the Whirling Square Root,
and the
principals laid
down
in the
to
all roots.
Drawing a square and dividing it in half with a line drawn through the
two Root Four's. If we draw the diagonal through one
of these halves and the crossing line, we shall have found out a point of
interest which we will consider as the principal point of interest, and dividing the other half in the same manner to make the crossing line in the
opposite corner will make the secondary point of interest.
If we draw a
line where the crossing line meets the boundary of one of the Root Four's
and make a Root Four in Sequence, we shall have produced a layout, as
is shown in Fig. 62.
An illustration is also shown in Fig. 63 based on this
centre will give us
layout.
Another way of the many of using the Root One or square, would be to
draw a diagonal making the quarter circle to make Root Two, as is ex-
Taking
this
Root
Two
the diagonal, then squaring the diagonal with the short line,
a point of interest which
we
and drawing
we shall have
The
part that
left after making Root Two we can divide in half and draw the diagonal
and our crossing line to get the secondary point, as is shown in Fig. 64.
In Fig. 65 is shown a composition based on this layout.
Another way that the Root One can be used would be to draw both
is
at right
angles to each
50
FIG.
FIG.
62.
INTO
THE GYPSY
in a
form
less
than Root
Two
THE COURTSHIP
Two
Two
53
drawing an upright
Fig. 67
is
line
this layout.
\--
54
Many
can be made.
The more
difficult
teen.
few
divisions of a
Root One
will be seen
on page $5-
PAGE OF ROOTS TWO. THREE, FOUR, AND FIVE INSIDE ROOT ONE
55
56
WINTER LANDSCAPES
By
in
Root
Two
ALFRED
T.
FISHER
By
In Roots One,
S.
M., F. R.
P. S.
s,
S9
OOT TWO
Two
in
square.
two ways:
The
best
way
to
form Root
Two
or oblong out-
To
construct
square as
we
Root
Two
inside
of a
form
is
Root Two.
The
balance of the
For
my own
purposes, I
(Fig. 70.)
have many
FIG.
70.
times drawn the roots in the following way: Taking a sheet of paper
of any
size,
surface or canvas
that
to use, I
intended
drew the
diagonal through
the opposite corners.
of
riG.
71.
This
the
60
is
one
methods
modcm
practical,
and
we have decided on
our composition.
It
is,
Two, we
61
can place
that
ception, although
it
may suggest
the arrangement.
you
to choose, after
your
first
stress
Many
drawing the
lines of
the diagonal, and then dividing the remaining part in the same manner,
as
is
After
we have made
Two
One
two
of these
may
be selected as the
Root
Two
FIG.
FIG.
73.
IN ROOT
FIG.
74-
63
Drawing two diagonals and making the star layout by crossing the diagonals in both places, and then by drawing a line through the intersection and a
parallel line through the length of the oblong, you will have made eight
divisions which will all be Root Two's, and the two halves will also be two
Root Two's in greater Sequence} and again, you will find four Root Two's,
so that this layout really gives you one large Root Two which contains two
Root Two's. These smaller Root Two's also contain four Root Two's.
The major form contains also eight Root Two's, as is shown in Fig. 76.
kflVe
>
FIG.
75.
64
FIG.
77.
FIG.
78.
LA TOILETTE
we
Two would be
65
to
make
we
j.*.^'
f
t
f
f
t
^.^..^^r
FIG.
70.
FIG.
80.
LAYOUT
66
is
FIG.
OVERLAPPING
this layout.
67
and a Root Two, and making the principal point of interest on the centre
of the diagonals of the square and the secondary point of interest in the
smaller square, as is shown in Fig. 84. There is shown in Fig. 85 a composition based on this layout.
On page 70 are shown a few layouts in
Root Two.
You
haustible.
Root Two.
FIG.
68
huMoiorwcr?
Kuppenneimerl
GOOD CLOTHES
The John P. Gross
PMIUkO(LPMW
i>
P.
c.
SoUvbigrneUliQuestm
fiJ<
OAV/eCA
IVORY
SKATES.
SOAP
69
70
ter
If
is
it is
Chap-
in
is
it
explained
the same
sketch, as
the
root
method
is
illustrated in Fig.
desired
One
71.
as
before described.
Taking a Root Three, draw the diagonals and the squaring lines on both
This will give you three Root Three's. On
On
is
shown
in Fig. 86.
crosses the
draw two
In Fig. 87 there
86.
ROOT THREE WITH THREE
ROOT THREE'S IN SEQUENCE
FIG.
FIG.
87.
POKE BONNET
is
72
in
to
diagonals and the two crossing lines (as in the previous example), making
three Root Three's.
as
is
shown
in Fig. 88.
In Fig. 89 there
is
this plan.
FIG.
89.
COMPOSITION BASED
ON
FIG.
Still
FIG. 88
Draw
both diagonals
in
Fig. 90.
It can
shown
side, as
is
shown
in
numerous
to mention.
some of the
On
is
The foregoing
is
layouts.
page 74 there
is
shown
number of
FIG.
90.
THEARTOF COLOR
these days of technical
fflnleii^
73
CONTENTS
omm.
CHAPTER TWO COLOR FIRST FOR
know CHAPTER
Siy
ART STUDENTS
an^
scientific
larytothe
91.
ItllllllllllllD
b^
COMPOSITION BASED ON
FIG. 90
74
By
In Root
Two
S.
M.,
F. R. P. S.
V-
OOT FOUR
is
two squares
as
plan.
produce two
Root Two's
in
each
is
shown a com-
There is
96 based on this layout.
Another compositional form would be
to take the Root Four and lay ofF the
Whirling Square Root by taking the comshown
in Fig. 94.
position in Fig.
The
I
t
crossing
f
\
L
fig.
layout.
Numbers of
so that
it
78
FIG.
FOUR'S
FIG.
94-
COMPOSITION BASED
ON
FIG. 93
FIG.
5.
ROOT FOUR WITH TWO ROOT ONE'S, EACH SQUARE CONTAINING TWO ROOT TWO'S OVERLAPPING
Thonl^^ivm^ Joy
^iocolAtes
J Joy h Give
FIG.
9.
COMPOSITION BASED ON
FIG. 9S
79
8o
r
r
f
f
FIG. 97.
81
HE Root
most interesting of
all
of the roots.
is,
It
Sequence
into
which
it
is
based.
Some
as follows:
A Root
Root Fours.
It
FIG.
"%%* W^
99-
100.
^W
'~1
>..w.
FIG.
ll^l%
(Fig. 99.)
"^
*| ^ <^W
Square Roots.
Many more
Root Five.
the
in
human
into a square
83
(Fig. 34.)
This root
is
also peculiar, as
it
human
The proportions of the human figure have been explained by Mr. Jay
Hambidge in the Diagonal so thoroughly that I must refer the reader again
to "The Elements of Dynamic Symmetry" for this information, as this
book
is
The
first
to
antique,
On
page 84 you will see a number of layouts using some of the different
divisions of Root Five.
lAYOUTS
IN
ROOT FIVE
a simplified
way
up
in
In
this chapter
etc.,
we
of each root
up a
was ex-
will take
Sequence, as
Root One could contain two Root Four's, or a Root Two, or a Root Three, or a
Five, making these inner roots by means of the quadrant
All of these roots
arc or quarter circle and the diagonal.
could be used at one time, if so desired, inside of the major Root One.
It will be very easy to trace the roots which each grand form contains
by the symbols which have been explained in Chapter Three, "Different
Roots or Forms and Proportion of Pictures." (Fig. 27.)
Fig. 10 1 shows a layout in Root One with the diagonals with two quadrant arcs, and where these lines cross, we shall have produced two Root
Two's overlapping each other, and by drawing upright lines at the same
intersection, we shall have produced two Root Two's in the opposite direcroots in
^C^^H^
j[
loi.
ROOT ONE WITH FOUR
OVERLAPPING ROOT TWO'S
FIG-
FIG.
^ ~
~)
"i
Fid
jyiH
~>
\i JF
k i
PASSING CLOUDS
By drawing two crossing lines through centres we shall have made the
Root One contain four Root One's also nine smaller Root One's. In Fig.
102 a composition
is
shown based on
this layout.
If
we draw
Root One
is
shown
in half
we
also in
shall
draw
86
^*^b^\
this,
we
87
another
layout by drawing the diagonal of the Root One, and the diagonal of the
remaining space from the Root Two, which was previously drawn, and
the other diagonals, as is shown; this will give us the layout, with an
lustration based
on
form
this compositional
In Fig. 107,
and
complete
we
circle,
CONVENTIONALIZED MOON
we have divided
so that
it
Two
The upper
right-hand square,
already drawn.
108.
il-
in Fig. 106.
FIG.
all
Two
Root
laid horizontally.
Two
It will
lines
Two
A composition based on
Drawing
the diagonals and the crossing lines, we shall have produced two Root
Two's, side by side, and if we draw parallel lines at the intersections and
diagonals at the left, where these lines bisect, we shall have made a layout,
as is shown.
A composition based on this layout is shown in Fig. no.
In Fig. Ill, we again take the Root Two and draw the diagonals and
Then, by
the crossing lines; this gives us again the so-called star layout.
drawing the parallel line so as to make two Root Two's, we superimpose a
layout at the intersections by making uprights where the diagonal and
In Fig. 109,
we have taken
a Root
as our
major shape.
88
Then, by drawing two parallel lines at the interand the crossing line, and by drawing diagonals,
have made the layout, as is shown. Fig. 1 1 2 shows a composition
we
shall
lOO.
ROOT TWO WITH TWO ROOT TWO'S AND
PARALLEL LINES AT ALL INTERSECTIONS AND
DIAGONALS AT LEFT.
FIG.
FIG. no.
WILLOWS
89
90
FIG.
113.
s^^^y
^'
92
namic
lines.
tion based
on
true.
In Fig.
20
is
Dy-
shown a composi-
this layout.
FIG.
FIG.
120.
COMMERCIAL LAYOUT
Fig. 121 is a Root Four which shows the major shape divided into four
Root Four's by drawing the two diagonals with the crossing line and the
parallel line, also a parallel line through the centre; by drawing upright
lines through the intersections with the diagonals you will have completed
this layout.
In Fig. 122 is shown a composition based on this layout, which
shows that it is not always necessary to follow straight lines, but the line
can be curved in the form of the Whirling Square to make a rhythmic
composition.
is
PEONIES
By
Modeled
in
bronze
in
Root Four
MICHEL JACOBS
95
the intersection of the diagonals, and by cutting the lines up with the spiral,
you
will
lines,
dimensions of the Whirling Square which has been carried out in a composition in Fig. 124.
In Fig. 125, you have a Root Five divided up into two Root Five's, one
on each end, by means of the diagonal and the crossing line, and the rhyth-
mic
line
upper corner.
This
(Fig. 128.)
This
last
Fr^
96
FIG.
123.
ROOT FOUR WITH TWO ROOT FOUR'S AND ONE ROOT ONE
USING THE RHYTHMIC UNES
W\
FIG.
135.
FIG.
136.
THE SLOPE
97
98
FIG.
127.
FIG.
128.
CONVENTIONAL PATTERN
method whereby we
we
shape.
will take
It
will
In this chap-
be necessary to describe
not
in the
in
major
detail
lustrations, as I believe,
wish to
is
call to
il-
conversant
the attention
the diagonal, squaring the diagonal, and by drawing the parallels where
meets the outside of the large formj and also the major
may
shapes
be divided in
many
ways, as
is
Root One:
It
can contain all the other roots by means of drawing the quadrant
from Root
sections leading
Two down
to
at inter-
Root Five.
The Root One also can be divided into four equal parts making four
Root One's, so that one root can overlap another root. For example,
you can get two Root Two's in a square by having one overlap the other.
Also, this Root One can be made to contain two Root Four's by dividing the square in half so that each one of these Root Four's would contain
two Root One's.
Each one of these smaller forms or forms in Sequence, as we know
them, can be divided with the diagonal, the squaring line, and the parallel
line.
Root Two:
It can contain
in half,
or by drawing the diagonal, the crossing line, and the parallel line.
the parallel line pass through the intersection of the crossing line and
the diagonal, and by making the rhythmic curve, as
In Fig.
30
is
is
shown
in Fig. 129.
The Root Two can also be divided into four Whirling Square Roots,
one overlapping the other, by means of making the square on one end
of Root
Two,
as in Fig.
100
FIG.
FIG.
130.
CONVENTIONAL LANDSCAPE
101
102
squares, taking the half of one of these small squares, finding out the
diagonal of the half, and making a Whirling Square Root in one corner,
as in Figs.
it
Fig. 134-
on page
FIG.
J31.
subdivisions or forms in
Sequence
will be
found
70.
r-"
-t*
FIG.
132.
'
FIG.
133.
103
't
-.
FIG.
,V^c
134.
..
*r
..'.....*.
104
Root Three:
shown on page 71.
this Root Three, and
into
is
shown
their turn
On
page
Root Five:
FIG. 13s. ROOT FIVE WITH TWO WHIRLING SQUARES OVERLAPPING AND A
WHIRLING SQUARE ON EACH END WITH ROOT TWO INSIDE OF A ROOT ONE
is
It can
105
can be divided into one square and two Whirling Square Roots, as
shown on page
29.
in
Sequence,
as
is
shown
in Fig. 135.
form the
By
look-
FIG.
137.
is
shown an
illustration based
on
this layout.
ROOT FIVE WITH A ROOT FIVE AT EACH END WITH DIAGONALS AND
PARALLEL LINES
?/T
^^
FIG.
'
ij8.
^^
^y^"^'^^^
ROLLING GROUND
io6
shown a layout
is
in
layout.
is
from those
in the
preceding layout.
In
this layout.
FIG.
139-
"-
BOTH WAYS
its
association with
FIG.
140.
Root Five,
WARRIOR
is
Dynamic Symmetry.
As
107
Root Five, two Whirling Square Roots and a square make a Root Five.
I have shown on page 1 1 6 a number of subdivisions and arrangements of
Any one of these subdivisions can, of course,
the Whirling Square Root.
line, and the parallel line.
On pages
crossing
the
have the diagonals,
114 and 115 I have shown a number of different layouts with illustrations based on them which can be readily understood at this time.
In Fig. 141 there is shown a shape which is less than a Root Two, to
demonstrate that
not
fit
it
any of the
is
roots.
is
FIG. 141.
FIG.
14a.
THE GOSSIPS
io8
of
Dynamic Symmetry
to
know
that
it is
possible to
make innumerable
lay-
outs and combinations of forms to suit the conception of the artist, and
in closing this chapter, I wish to
sary
first
Even go
it is
so far as to
always neces-
draw the
picture,
any rate, the sketch, with your original conception fresh in your mind.
Then, finding out which of the roots and Dynamic lines will more nearly
carry out your idea, change the line so that it will come nearer to the Dynaor, at
mic
line.
109
5
PROGRESSIVE STEPS OF THE WHIRLING SQUARE ROOT
no
ROOT TWO
ROOT THREE
113
114
IIIIIIU**''*^
"5
ii6
Of
dimensions.
which
all
modern
is
literal
in the
which
same way
is
The
have a pattern,
very important,
in the subjective,
or pattern
is
just
more or less
must
picture
material.
This
is
work, but
it is
also necessary to
This
is
very obvious
and
is
more
have a pattern
noticeable in
in the
ground,
in sculptural or architectural
also necessary
and
quadrant arc in perspective with a parallel line which shows the Root Two.
romj or oiTNCt
pamof pi>TMici
OINT Of >gHT
nC.
143.
TWO
ii8
I
have drawn
in
mind.
But, of course, the artist will not use any mathematical measurements for
his picture, but will
his
ground composition
in the three
Fig.
FIG.
COMPOSITION BASED ON
FIG. 143
go
to the trouble of
119
making a layout on
trans-
parent paper of the root that he wishes to use in two dimensions, holding
this
up
in front
artist
make
up
was explained
If he holds
making
it
conform nearer
from
made
to the root he
wishes to use.
ami OF OtSTAMCt
FIG.
145.
POINT OP SMHT
FIG.
146.
PCINT Of DurAMCt
WE explained in the
and illustrated
with the seesaw, the weight or mass of any composition
must be considered. While Dynamic Symmetry will give
first
it
must
were not
considered.
For example:
we were
interest a gray,
It
if
to take a layout
and another
part,
in
mind
FIG.
147.
putting
light highlight
SUPPLICATION TO ZEUS.
UGHT MASS
FIG.
148.
WAR.
121
Then, again, the texture will either attract or will not hold your attention.
For example: a black-and-white stripe of heavy lines wide apart
will hold the eye, and a dotted line will give atmosphere.
Oblique lines
will not attract as
much
attention, or
hold up
On
in the
page 125
foreground as much as
have shown you a few
process, to
remind you of
masses.
is
part or near the ground, and the light mass in the upper parts,
is
in the
(Fig. 147.)
148.)
is
will give
it
sometimes desired.
it
is
done,
will give
(See Fig.
122
in
mind
is
FIG.
in the
149.
is
we have
is
mass will
shown
in Fig. 147.
Combining Dynamic Symmetry with light and shade, one will see in Figs.
149 and 150 two roots of the Whirling Square. Both of these have been
carried in Sequence to the smaller Whirling Square and darkened to show
the effect of the graduation of dark
FIG.
ISO.
and
light.
and
spiral in
123
vice versa.
if
background, whereas, lines which are very light or lightly drawn will appear to be part of the figure
itself.
is
tones.
more
light will be
shown.
If the picture contains only black and white, distances can be shown by
making the objects diminish in size as they recede. If the half tones are
to be used, you will find that the lights must be darker and the darks must be
Likewise, the
lighter as they diminish and disappear into the distance.
darks are darker and the lights are lighter as they advance to the fore-
ground.
In closing this chapter,
entire work must be
stronger than
the whole.
its
To
if
is
of the
artist that
If the picture
wish to
it
the
much
must be a part of
it is
not
to try out
124
tiiif'i:S-!:~i
'^ihi:.M.'.
12?
ATURE
full of colour.
We
This also
other colour.
is
was mentioned
is
is
more
assthetic,
which
in
is
is
more of our
conception.
painting nature as
in the
it
really
is,
or as near as
our imagination,
in a subjective style.
It
is
the
form of
of
all
the
strange,
how
we
nature
painted.
We
We
Dynamic Symmetry
and
can
we
make
desire.
must be careful
We can
in
doing
make our
this that
trees
any colour
lines (as I
have explained
in the
foregoing chapters)
the beholder.
In
Colour combinations are nothing more than colour comThose who have read these books will understand what I mean
when I say that a picture can be in two colours and two complementaries, or
three colours and three complementaries, or a harmony of three, four, or
five, or a split complementary of one against two, one against three, two
against three, and one against six.
These combinations and all the thouinto this subject.
positions.
126
Of
have mentioned
in the
two books
found
will be
127
to be pleasing.
but this
If
is
we
the
new
art
create.
conform more
other points of interest attract our eye in Sequence, for the eye does not
like to be distracted
by two or more
whole picture
at
where
as
it is
one glance.
more than
The
own
others, especially
The red
our eye. The
spectrum.
first attract
next} the purple and blue-green next; the blue next; and the violet and
These are called sometimes advancing and receding colAll colours can be made to advance or recede by surrounding them
blue-violet last.
ours.
less brilliancy.
We
must
al-
ways remember the atmosphere changes all colours; and that the object, as
it recedes, will partake somewhat of the colour of the atmosphere; the
Then, again, it makes
lighted side does not do so as quickly as the shadow.
a difference what the colour of the object is, for a red object would have a
purple shadow: this shadow would disappear more quickly into the distance than would the red, whereas the blue-violet object would vanish into
For a
the atmosphere colour more quickly than would the shadowy side.
fuller explanation of this phenomenon I would refer you to Chapter
Seven of "The Art of Colour."
How
we
much of
in
Se-
If
we
it
128
is
tralized colour
If an object
we could
we wish
to
surrounding
shadow
toward
circle.
its
it
will
that a
complementary, clockwise or
chapter
is
wish to study
who
not essential to
It is
artist.
As
book,
reference in explaining
been, perhaps, a
that
But
in this chapter I
Symmetry," but perhaps those who have studied the preceding chapters
will be better able to take up the task which apparently seems so difficult at
the outset.
After the first understanding of Dynamic Symmetry, the books
of Jay Hambidge and Samuel Colman are wonderful explanations of the
Greek form of composition, and I trust that some of the readers of this
book will study and verify the compositional layouts illustrated in "The
Greek Vase" and in "Elements of Dynamic Symmetry."
In the first chapter, the different roots were explained and how to form
them, and how, by means of the diagonal, to make the smaller forms in
summation. I took the liberty of naming them "SEQUENCE OF.
FORM." The basis of the area of each root is measured in what is known
as square root.
Of course, all those who have studied geometry and algebra know that the square root of i is i.
This is called Root One. A quantity
of %, since
Thus
-|-
is
root of a
%X%
is 5,
= %;
is
2ax
perfect square,
is
+ x^,
and
so on.
When
is
said to be
is
= x*;
the square
number
is
commensurable.
x''
Thus
is
the
130
square root of 4, x of
x'.
The
is
FIG.
15".
4
4
i
4
4
4
4
FIG.
152.
RELATION OF MASS
131
132
this rectangle
The
is i
to
which
is
1.4142+
1.4142+
Two
1.4142+
1.4142+
28284
56569
14142
S656S
14142
1,99996164
The
small discrepancy
is,
The
of these numbers
1.4142+
is
1.4142+
is
given below.
multiplied by
= 2 or 2
X2
In other words,
itself, it will
if
any one
i.
= 4.
i.ooo
1.414+
is
1.6 18+
i-yj^"*"
2.000
2.236+
2.449+
2.645+
2.828+
3.000
3.162+
e.
3.316+
3.464''"
3.
605+
3.741 +
3.872+
4.000
4.123+
4.242+
4.358+
4.472+
4.582+
4.690+
4.795+
,
.4.898+
5.000+
in
whether
133
major shape or
in the
pressed by
The
of 1.6 18+
used with unity to make a rectangle, which is divided by a diagonal, crossing lines, and the parallel to make a Whirling
Square which is based on nature's design and which will make the logarithratio
metic curve.
is
in
134
ROOT 2
aoox 3
WMRLMG SQUARE
I
I
I
I
I
I
I
I
I...
1
I
noOT *
noor 9
135
.*
1.4
1.733.
136
is 1.618+.
If you
draw a square whose side measures 4. 50 centimetres, laying off half
the square and finding the diagonal of this half, adding this to half the
square to make the Whirling Square Root, you will have a rectangle whose
side will measure 7.236 centimetres.
If we draw the diagonal and the
will
down
the forms in
Sequence, and draw the Whirling Square around the outside of the rectangle, as is shown in Fig. 153, we shall have completed the logarithmetic
spiral, or Whirling Square, outside the rectangle.
If we now draw another square which measures 5 centimetres and make
the Whirling Square in the same way as we did in the preceding paragraph,
we shall have a rectangle whose side measures 8.20 centimetres plus or
minus.
Now,
if
we draw
again the diagonals and the crossing lines and draw the
is
this, to
my
knowledge.
FIG.
FIG.
53.
IS*.
137
138
*-
--.-- ^
1-
WHIRLING
c
e
ONEand THREEand the
yx/v.^_yx.^.
.^_^x/v.^
^_
.^_^*/.
.a^va,
FOUR
FIVE
and
ONEdud
SQUARE
.-.-c-t.
WHIRLING
.-u_
e
-<_e
ONEand FOUR and the
c .^ .^ e .
ONEand FIVE dnd+he WHIRLING SQUARE
TWO and THREEand FOUR ^_-l_ ^._H-<^f -^-^^-^TWO^ndTHREEandF^\/E.,
^-,
TWOandTHREEandtheWHIRLING SQUARE ^.-e ^_e +-e^^^_<-^
1--^
THREEand FOURand FlVE-^^_*_^*
FIG. ISS
^^
wa
GLOSSARY
A
Balance:
picture so arranged that the objects balance each other either dynami-
cally or statically.
Measurable by a common
Commensurable:
Crossing line:
is
continued movement.
rest or
Diagonal:
line
nuse of a rectangle.
Dynamic Symmetry:
Proportionate.
unit.
line
line
An
opposite corners.
straight line
The
oblique line.
hypote-
vertices.
On
Horizontal:
level.
Flat.
Plane.
The
Hypotenuse:
Not measurable by
Incommensurable:
Logarithmetic
This
certain ratio.
ratio
Oblong:
Having one
Parallel:
common
Opposite of commensurable.
unit.
is
Not meeting
how
or intersecting,
lines or planes.
Parallel line:
Any
line, either
is
parallel to the
Parallelogram:
Perpendicular:
Upright or
The
Points of interest:
vertical.
which
place in a picture
It
first
is
The
Sequence
object
Dynamic Symmetry.
It
It
The
our eye.
object
attracts
The
object
which
is
placed in
Sequence
to the first
and
jjoint of interest.
The
interest.
Sequence from
Quadrant arc;
An
object of not
leads
us in
two ends
resting in opposite
comers to the
diagonal.
Quotient:
many
The
result obtained
times one
number or quantity
is
contained in another.
how
140
Eectangle:
An
Bight angle:
An
oblong or square.
perpendicularly.
Boot One:
square
Its reciprocal
i.
roots.
Dividing
it
is
i.
in half will
The
other roots are found inside of a square by means of a quadrant arc or quarter circle
Boot Two
A rectangle which can be divided into two equal parts, both parts forming Root Two in Sequence or lesser magnitude.
Its reciprocal is 1.414+.
The diagonal of Root One is the length of Root Two.
Boot Three: A rectangle which can be divided into three equal parts, each one of
the three parts forming a Root Three in Sequence or form of lesser magnitude,
in the same proportion.
Its reciprocal is 1.732+.
The diagonal of Root Two
is the length of Root Three.
Boot Four: A rectangle which can be divided into four parts each one of the four
parts forming a Root Four in Sequence or form of lesser magnitude, in the
same proportion. Its reciprocal is 2. The diagonal of Root Three is the
length of Root Four.
Boot Five: A rectangle which can be divided into five equal parts each one of the
five parts forming a Root Five in Sequence or form of lesser magnitude, in
Its reciprocal is 2.236+.
the same proportion.
The diagonal of Root Four is
the length of Root Five.
Boots Outside of a Square: These are found by measuring the diagonal, taidng
this as the length of the Root Two.
Bule of Three
The product of the extremes is equal to the product of the means.
:
Sequence
The
process of following in
numbers each
Square:
num-
series.
rectangle whose
Square Boot:
given quantity.
is
Star layout;
Thus 2
is
drawn from
said to be commensurable.
One
of
two equal
factors
of x*.
and crossing
Summation:
measure.
141
This root
and
leaf distribution.
Book
of Exceptional Clarity
and Scope
te^^j
^^i^<^
It
is
interesting,
and authoritative
clear,
style.
treatise
on colour in
its
Price, $7.50
M^j^i^^TM
Published by
Doubleday, Page
Garden City
& Company
New York
The Study
of
Colour
2nd Edition
in
Two Volumes
by
Michel Jacobs
For
the Artist
For
For
the Student
the
Craftsman
The
of
made moderate
all.
If the art student would execute the lessons which the book
includes, he is bound to see colour and to learn how to use it in his
work.
Five hundred thousand colour combinations.
Sixteen coloured illustrations.
Sixty-four black and white illustrations.
All charts for colouring.
Published by
Doubleday, Page
&
Company
Garden City
New York
BorOTHY
H. hoover IIMARY
ONTARIO COLLEGE Of ART & DESIGN
ICO MeCAUl STREET,
TORONTO, ON.
M5T 1W1
F'
*
is
SMTATtlC
NC
JACOBS, MICHEL.
740 THE ART OF COM-
J23 POSITION.
REF.
Oi.A.iiiJ
1C?0
CuLLEt^E
;AcCAUL
TO.^ON.O
2B,
Or
h..i
ST.
ONTARIO