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.You may notice, too, how the lines drawn across astudy in order to copy it (squaring it out, as it is called) improve the look of a drawing, giving a greater beauty to the variety of thecurves by contrast with the variety lacking in straight lines.The perfect curve of the circle should always be avoided in the drawing of natural objects (even a full moon), and in vital drawingsof any sort some variety should always be looked for.Neither should the modelling of the sphere ever occur in your work, thedullest of all curved surfaces.http://www.gutenberg.org/files/14264/14264-h/14264-h.htm (62 of 147)3/9/2006 11:03:42 PM The Project Gutenberg eBook of The Practice & Science Of Drawing, by Harold Speed.Although the curve of the perfect circle is dull from its lack of variety, it is not without beauty, and this is due to its perfect unity.It is of all curves the most perfect example of static unity.Without the excitement of the slightest variation it goes on and on forever.This is, no doubt, the reason why it was early chosen as a symbol of Eternity, and certainly no more perfect symbol could befound.The circle seen in perspective assumes the more beautiful curve of the ellipse, a curve having much variety; but as its four quartersare alike, not so much as a symmetrical figure can have.139Perhaps the most beautiful symmetrically curved figure of all is the so-called egg of the well-known moulding from such a templeas the Erechtheum, called the egg and dart moulding.Here we have a perfect balance between variety and unity.The curvature isvaried to an infinite degree, at no point is its curving at the same ratio as at any other point; perhaps the maximum amount ofvariety that can be got in a symmetrical figure, preserving, as it does, its almost perfect continuity, for it approaches the circle inthe even flow of its curvature.This is, roughly, the line of the contour of a face, and you may note how much painters who haveexcelled in grace have insisted on it in their portraits.Gainsborough and Vandyke are striking, instances.Diagram VII.EGG AND DART MOULDING FROM ONE OF THE CARYATIDES FROM THE ERECHTHEUM IN THE BRITISH MUSEUM140141The line of a profile is often one of great beauty, only here the variety is apt to overbalance the unity or run of the line.The mostbeautiful profiles are usually those in which variety is subordinated to the unity of the contour.I fancy the Greeks felt this whenthey did away with the hollow above the nose, making the line of the forehead run, with but little interruption, to the tip of thenose.The unity of line is increased, and the variety made more interesting.The idea that this was the common Greek type is, Ishould imagine, untrue, for their portrait statues do not show it.It does occur in nature at rare intervals, and in most Westernnationalities, but I do not think there is much evidence of its ever having been a common type anywhere.http://www.gutenberg.org/files/14264/14264-h/14264-h.htm (63 of 147)3/9/2006 11:03:42 PM The Project Gutenberg eBook of The Practice & Science Of Drawing, by Harold Speed.Diagram VIII.ILLUSTRATING VARIETY IN SYMMETRYNote how the hollows marked A are opposed by fullnesses marked B.In drawing or painting a profile this run or unity of the line is the thing to feel, if you would express its particular beauty.This isbest done in the case of a painting by finally drawing it with the brush from the background side, after having painted all thevariety there is of tone and colour on the face side of the line.As the background usually varies little, the swing of the brush is nothampered on this side as it is on the other.I have seen students worried to distraction trying to paint the profile line from the faceside, fearing to lose the drawing by going over the edge.With the edge blurred out from the face side, it is easy to come with abrush full of the colour the background is immediately against the face (a different colour usually from what it is further away),and draw it with some decision and conviction, care being taken to note all the variations on the edge, where the sharpnesses comeand where the edge is more lost, &c.Variety in Symmetry [ Pobierz całość w formacie PDF ]
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.You may notice, too, how the lines drawn across astudy in order to copy it (squaring it out, as it is called) improve the look of a drawing, giving a greater beauty to the variety of thecurves by contrast with the variety lacking in straight lines.The perfect curve of the circle should always be avoided in the drawing of natural objects (even a full moon), and in vital drawingsof any sort some variety should always be looked for.Neither should the modelling of the sphere ever occur in your work, thedullest of all curved surfaces.http://www.gutenberg.org/files/14264/14264-h/14264-h.htm (62 of 147)3/9/2006 11:03:42 PM The Project Gutenberg eBook of The Practice & Science Of Drawing, by Harold Speed.Although the curve of the perfect circle is dull from its lack of variety, it is not without beauty, and this is due to its perfect unity.It is of all curves the most perfect example of static unity.Without the excitement of the slightest variation it goes on and on forever.This is, no doubt, the reason why it was early chosen as a symbol of Eternity, and certainly no more perfect symbol could befound.The circle seen in perspective assumes the more beautiful curve of the ellipse, a curve having much variety; but as its four quartersare alike, not so much as a symmetrical figure can have.139Perhaps the most beautiful symmetrically curved figure of all is the so-called egg of the well-known moulding from such a templeas the Erechtheum, called the egg and dart moulding.Here we have a perfect balance between variety and unity.The curvature isvaried to an infinite degree, at no point is its curving at the same ratio as at any other point; perhaps the maximum amount ofvariety that can be got in a symmetrical figure, preserving, as it does, its almost perfect continuity, for it approaches the circle inthe even flow of its curvature.This is, roughly, the line of the contour of a face, and you may note how much painters who haveexcelled in grace have insisted on it in their portraits.Gainsborough and Vandyke are striking, instances.Diagram VII.EGG AND DART MOULDING FROM ONE OF THE CARYATIDES FROM THE ERECHTHEUM IN THE BRITISH MUSEUM140141The line of a profile is often one of great beauty, only here the variety is apt to overbalance the unity or run of the line.The mostbeautiful profiles are usually those in which variety is subordinated to the unity of the contour.I fancy the Greeks felt this whenthey did away with the hollow above the nose, making the line of the forehead run, with but little interruption, to the tip of thenose.The unity of line is increased, and the variety made more interesting.The idea that this was the common Greek type is, Ishould imagine, untrue, for their portrait statues do not show it.It does occur in nature at rare intervals, and in most Westernnationalities, but I do not think there is much evidence of its ever having been a common type anywhere.http://www.gutenberg.org/files/14264/14264-h/14264-h.htm (63 of 147)3/9/2006 11:03:42 PM The Project Gutenberg eBook of The Practice & Science Of Drawing, by Harold Speed.Diagram VIII.ILLUSTRATING VARIETY IN SYMMETRYNote how the hollows marked A are opposed by fullnesses marked B.In drawing or painting a profile this run or unity of the line is the thing to feel, if you would express its particular beauty.This isbest done in the case of a painting by finally drawing it with the brush from the background side, after having painted all thevariety there is of tone and colour on the face side of the line.As the background usually varies little, the swing of the brush is nothampered on this side as it is on the other.I have seen students worried to distraction trying to paint the profile line from the faceside, fearing to lose the drawing by going over the edge.With the edge blurred out from the face side, it is easy to come with abrush full of the colour the background is immediately against the face (a different colour usually from what it is further away),and draw it with some decision and conviction, care being taken to note all the variations on the edge, where the sharpnesses comeand where the edge is more lost, &c.Variety in Symmetry [ Pobierz całość w formacie PDF ]