A Theory of Pure Design: Harmony, Balance, Rhythm is a book written by Denman W. Ross that explores the fundamental principles of design. The author argues that design is not just about aesthetics, but also about creating a sense of harmony, balance, and rhythm in the visual composition. The book is divided into three main sections, each of which focuses on one of these principles. In the first section, Ross examines the concept of harmony and how it can be achieved through the use of color, line, and form. The second section explores the idea of balance and how it can be achieved through the careful placement of elements within a design. Finally, the third section discusses the importance of rhythm in design and how it can be created through the repetition of elements. Throughout the book, Ross provides numerous examples of how these principles can be applied in different contexts, from architecture and graphic design to painting and sculpture. The book is aimed at designers, artists, and anyone interested in the theory behind good design.This scarce antiquarian book is a facsimile reprint of the old original and may contain some imperfections such as library marks and notations. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions, that are true to their original work.
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This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.
PREFACE ~fY purpose in this book is to elucidate. so far U!7; J can, the principles which underlie the practice of drawing alld painting as n. Fine 'Art. Art is generally regarded as the expression of redilig'S ancl emotions which have no ~xplanation €.'Xcept perhaps in such a word as insln:ratiw., whjeh is e.''{pletive rather than (',xplanatory. Art is regarJed us the one activity of man which has no scientific ha..<;is, und the appreciation of Art is sn.jd to he a mutter of taste in which no two persolls can be expected to agree. It is my purpose ill this hook to show how, in the pra.ct;ce or Art, as in all other practices, we use ccrtulll terms and follo" ... ceriain principles. Being defilled and explained, tbese terms and principles m .. lY he known and tJnd~rstood by ~verybody. The)' ure. 50 to speak, fhe fo·rm. ot lhe lan.g1J.age. ,VhiIe an understanding of the terms and principles of Art wiIlnot, ill itself, enabl~ anyone to produce important works, suc
Table of Contents
CONTENTS; INTRODUCTION 1; POSITIONS IN HARMONY, BALANCE, AND RHYTH:f 9; LINES IN HARMONY, BALANCE, AND RHYTHM • 37; OUTLINES IN HA&,WNY, BALANCE, AND RHYTHM 96; TONES AND TONE-RELATIONS 131; SEQUENCES OF VALUES AND COLORS 143; TONE-HARMONY 158; TONE-BALANCE 172; TONE-RHYTHM 182; COMPOSITION GENERAL RULES ISO; THE STUDY OF ORDER IN NATURE AND IN WORKS OF ART 190; CONCLUSION • 19~; PARAGRAPH INDEX 195
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Forgotten Books is a publisher of historical writings, such as: Philosophy, Classics, Science, Religion, History, Folklore and Mythology.
Forgotten Books' Classic Reprint Series utilizes the latest technology to regenerate facsimiles of historically important writings. Careful attention has been made to accurately preserve the original format of each page whilst digitally enhancing the difficult to read text.
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