Design - LEP

Form a unit that dominates its subordinate and conflicting parts.
In these plans or designs,unity requires that one kind of line,one kind of shape,one direction,one texture,one value,and one hue be emphasized so that it dominates.Dominant means preponderant,outweighing,principal.For example,when a man is wearing a black suit and a white tie,we say that black is the dominant value.When we are in a forest and our dominant impression is one of verticality,we say that the vertical is the dominant direction,as it is in the illustration for Gray´s ''Elegy'' on page 107.Therefore,when blue and green are used,either the blue or the green should be dominant.When opposite shapes-such as triangles and disks-are used,one shape should dominate as in TL on Chart 13,page 72,and PT on Chart 16,page 73.When contrasting straight and curved lines are used,either the straight or the curved should be emphasized as in NO on Chart 3,page 69.When the horizontal is opposed to the vertical,one direction should be dominant,as in NO on Chart 3.
This emphasis or dominance is produced by making one of the competing units larger,stronger in value contrast,and/or stronger in chroma or color intensity,as in ''Cats Eyes'',page 129,the Fortune cover on page 131,and ''Give 'Em Both Barrels'' on page 133.
Dominance of one kind of line,shape,direction,texture,value,or hue can also be produced by repetition.For example,in WX on Chart 9,page 71,triangular shape and white value are emphasized and made dominant by repetition.In ''Arms and Hands'',page 106,right oblique direction is emphasized and dominates by repetition.

DOMINANT INTERVAL OR MAJOR CONTRAST
A dominant interval or difference among directions,shapes,areas,values,textures,or hues will further strengthen the unity of a design.In addition,unequal intervals produce a variety of contrasts,major and minor,which make a composition more interesting,as in PK,Chart 4;WX,Chart 9;EM,Chart 18;and EV,Chart 20,on pages 69-74.
DOMINANCE AND HARMONY
Inasmuch as harmonious units often have one or more identical dimensions,a certain amount of repetition exists (such as a green circle and a blue circle;this is a harmony of hue,repetition of shape).Consequently,it might be assumed that because unity can be created by repetition,harmony and unity are synonymous.
This is an error.A combination of harmonious units does not necessarily produce unity.Imagine a room painted in two harmonious colors,green and blue.Each is equal in chroma.Half the room in green,half is blue.The effect would be incoherent because neither color dominates.
To create unity one color must be dominant.It could be made so by increasing its area,by intensifying is chroma,or by doing both.
DOMINANCE AND DISCORD
Another misconception is the belief of some conservative artists that discord or violent contrast is incompatible with unity.But it is a mistake to assume that,because a design is discordant in character,it is consequently incoherent.Discord or extreme contrast and unity can coexist in the same composition if the principle of dominance is enforced.Some of the best modern and primitive art is proof that they can.Whether or not one likes discord is another matter. Although vigorous contrast may be pleasing, it is more interesting when controlled and organized. Stimulus pleases, but order, too, is satisfying.
Lack of dominance produces disunity or disorder. Dominance creates unity or order.

Dominance of Pattern. The phenomenon of magnetism, shown in the following experiment, demonstrates that dominance, the principle of synthesis, naturally imposes unity and order. On a stiff paper disk throw a handful of iron filings. The effect, shown at the left, will be chaotic because it lacks dominance. Now, place one end of a bar magnet beneath the paper and lightly tap the edge of the disk. Immediately the magnet asserts its dominion and imposes unity by arranging the filings in the orderly pattern of magnetic force which radiates from one dominant focal point, as shown at right. See designs based on radiation, pages 42-52.

Anyone who can paint can easily make a pretty still life if he is given fine silks, Chinese ceramics, and flowers. But a real challenge to one’s design ability is to select and arrange objects fom a junk yard. Here is one ingenious solution to the problem that creates order out of chaos. Unity has been imposed by the dominating theme of radiation inherent in the wheel and by the circular repetition of wheel and hose. Remove these, and the design disintegrates into the anarchy of the scrap heap.

Dominance of Curvilinear Plan. Unity is created by subordinating the floral elements to a dominant curve. This is the same simple and direct design plan used in the Neenah composition on page 104, “Dominoes” on page 105, “The Wave” on page 92, the Leonard sketches on pages 93 and 94, and the Petri poster on page 40.

A study of skillful compositions such as this floral arrangement, and the one on page 45, as well as “Toothbrushes” on page 138, will often show that the material itself has suggested its own arrangement to the ingenious composer.

In the above composition, it was the curve of the gold bird that suggested the line for the floral arrangement. Repetition of this curve by the curved forsythia sprays unifies the design by integrating bird and flowers. The gold and white urn provides additional unifying repetitions by echoing the gold bird and the yellow and white forsythia, narcissi, cinerarias, and primroses. A yellow-green background and golden brown table complete this harmonious color ccheme.

Dominance of Curvilinear Plan. Subordinating a repetitive series of straight-line angular shapes to one dominant curve, as in this striking design and “Dominoes” (opposite), is always effective, for both contrast and unity are achieved at one stroke. These sweeping curves, like the flowing crescendo of Hokusai’s “Wave” (page 92), are charged with the movement of living things: they are dynamic unities.

Textual contrast of clear, sharp, incisive line against soft, fuzzy tone contributes greatly to the interest of this composition. Note how apt are the arms of the little linear man; how well they function in the arrangement.

Dominance of Curvilinear Plan. This design and the Neenah advertisement opposite, demonstrate two of the many possible applications of a very effective compositional plan.This simple plan, repetition culminating in a dominant climax, is the basis of both designs. This plan is comparable to a string of small firecrackers with a large one attached to the end . . . a series of little explosions ending with a big bang! The same satisfying sensation of finality and completeness is felt in “Dominoes.” The angle and brilliancy of the illumination add much to its interest. The crisply serrated shadows are decorative and dramatic.

"Arms and Hands," Gray O'Reilly

Dominance of direction. A simple composition, but well organized, with contrasting directions as the reason. The directions left and right obliques are opposed by almost horizontal direction how strong and well placed contrasts angle of 90 degrees with the left oblique. Here, as in the illustration of "Elegy" for Gray, the instructions are not equally emphasized ... the right oblique is dominant or primary, the secondary is left oblique, and nearly horizontal is subordinate. Note the placement of the two balanced left oblique. This same principle of unity with the domain or range was also observed in terms of hands. Five hands facing left, two right cheek. Five are almost closed, two are almost open.
Note that this picture, the abstraction, the bas-relief and Janniot Vassos illustration on the next page, as well as RG, Chart 1, NO, Chart3, and AR, Hart 17, the text design, all have contrasting directions one dominant direction. This, in a major factor in the design of each of these compositions.

Unity is produced by dominance,and dominance is produced by repetition. Repetition is a basic and common form of natural order. The ebbing and flooding tides,the waxing and waning moon, the birth and death of plant and animal life,night and day, and the slow,measured passage of the seasons – all are rhythmical cycles that are eternally repeating the anciente, mystical theme of decay and resurrection.

Dominance or emphasis by repetition is the oldest,simplest,and nost effective way of creating aesthetic unity. Um prose,poetry,music,and the dance ,repetition occurs in time.In paintign,architecture,and sculpture,repetition occurs in space. But whether expressed temporally or spatially, repetition produces dominace and unity in all art forms, as will be shown.

Repetition may at first seem too simple and obvious a device to use except sparingly.But the many different examples of repetition with variation on the following pages will demostrate that the use of repetition is limited only by the imagination,ingenuity, and skill of the composer , writer or artist.

Repetition with variation is the essence of musical development-the composer reats in new forms what has been played before . The musical theme may be inverted, transposed into different keys,accelerated and retarded, played on various instruments,dynamically varied from pianissimo or softly to fortissimo or loudly as possible, opposed to conflicting or contrapuntal themes, expanded,elaborated,or embroidered.

Dramatic music, such as Wagner’s Ring of the Nibelung,may also empoy another repetitive musical device, the lei..

motiv or literally taking Each main character theme, idea, or object -., as the hero Siegfried, the destination, the Rhine, the magic sword, or celestial fire of Wotan - is associated with a musical theme identification, symbol or leitmotif that recurs throughout the opera. Sounding his musical leitmotifs or counterparty by the orchestra predicts the coming of the character or object and announces its reappearance.
A literary device somewhat analogous to the musical leitmotif is repeated over a novel or play, an epithet, nickname, mannerisms, physical oddity, or saying associated with a particular character. This device, used to build unity characterization marking certain characteristics or qualities ruling by repetition, which is widely used by Dickens in David Copperfield., For example, observe the frequent recitation by Micawber optimistic and detailed that "Something will turn up," and constantly repeated protests by the false humility and whining Uriah Heep.
Repetition can also be used in the introduction or opening scene of a play or a novel to emphasize its plot or title. For example, both the theme and title of the photoplay One misstep are cleverly emphasized by repetition with variation in the prologue, which is a series of short one pair of feet, making a misstep. But each shot shows a different pair and an accident different. These shots with this title, incidentally, could have been so effectively used as a "variation on a theme" series of photographic illustrations for an advertising campaign of accident insurance, similar to those shown on pages 140-143.
The novel and play also use the repetition of the opening scene for the final scene to complete the cycle and give dramatic unity and purpose to the plot. Note, for example, the shooting of forward and reverse the empty apartment that occur both in

Beginning and at the end of Noel Coward´s photoplay, This Happy Breed. Note also the shot of Shakespeare´s London theatre, the Globe, that opens and closes Olivier´s Henry V, and the railway station that is the setting for both the beginning and the end of Anna´s tragic love affair in Tolstoy´s novel Anna Karenina.

This same scheme is used in debate and literary exposition, where the premise is restated in the conclusion for the sake of clarity and coherence. It has been said that clear and effective teaching consists largely of repetition – of first telling the students what you are going to tell them, then telling them, and then telling them what you have told them.

Literature and poetry also utilize harmonic repetition of sound; that is, alliteration of repetition of the same first letter with different words, consonance of repetition of consonants with variation of vowels; and assonance or repetition of vowels with various consonants.In poetry the emotional effect produced by rhythm and tone color is emphasized by repetition of entire words as in the following example:

Keeping time, time, time

In a sort of Runic rhyme,

To the throbbing of the bells,

Of the bells, bells, bells,

To the sobbing of the bells;

Keeping time, time, time,

As he knells, knells, knells.

Poe, ‘The Bells’.

THE EMOTIONAL EFFECTS OF REPETITION

The emotional effects produced by repetition may be quite different- even opposite – depending upon what is repeated and how it is repeated. The following examples illustrate a few of these effects and indicate the emotional range covered.