tag:blogger.com,1999:blog-2999230124118604245.post4973013659476756024..comments2024-03-18T07:23:32.809-04:00Comments on Gurney Journey: GJ Book Club: Chapter 12, Unity of Line (Part 2) Curved LinesJames Gurneyhttp://www.blogger.com/profile/01870848001990898499noreply@blogger.comBlogger5125tag:blogger.com,1999:blog-2999230124118604245.post-32258901228926110412015-06-28T17:09:48.548-04:002015-06-28T17:09:48.548-04:00Seadit, the name of the book is: "alphonse mu...Seadit, the name of the book is: "alphonse mucha lectures on art academy editions, london." I think it was published in 1975James Gurneyhttps://www.blogger.com/profile/01870848001990898499noreply@blogger.comtag:blogger.com,1999:blog-2999230124118604245.post-78023270405952653082015-06-27T17:12:20.318-04:002015-06-27T17:12:20.318-04:00In Diagrams XVIII and XIX, Speed resolves disharmo...In Diagrams XVIII and XIX, Speed resolves disharmony among lines by adding lines that echo a single chosen line, and blotting over eye-stopping line junctions. The blots give him some visual weight on the page, which he can then balance with other blots.<br /><br />In reviewing "Composition" by Arthur Wesley Dow, I noticed a different solution to a similar problem. He calls sharp line junctions "oppositions" and resolves them with "transitions", or lines that blend the angles into curves (page 22, http://www.gutenberg.org/files/45410/45410-h/45410-h.html). He makes the interesting statement that "... beauty... has been defined as consisting of elements of difference harmonized by elements of unity".<br /><br /> I wonder if that is true?Nancyhttps://www.blogger.com/profile/03042767849977809795noreply@blogger.comtag:blogger.com,1999:blog-2999230124118604245.post-46836931017826708462015-06-27T16:35:57.901-04:002015-06-27T16:35:57.901-04:00Thanks James, I'll have a look.Thanks James, I'll have a look.seadithttps://www.blogger.com/profile/13052851423700566814noreply@blogger.comtag:blogger.com,1999:blog-2999230124118604245.post-54712355651005514342015-06-27T11:17:05.603-04:002015-06-27T11:17:05.603-04:00Seadit, about the Golden Ratio in composition, you...Seadit, about the Golden Ratio in composition, you might be interested in my series "Mythbusting the Golden Mean," which starts here: http://gurneyjourney.blogspot.com/2013/01/mythbusting-golden-mean-part-1.htmlJames Gurneyhttps://www.blogger.com/profile/01870848001990898499noreply@blogger.comtag:blogger.com,1999:blog-2999230124118604245.post-44475847417146446192015-06-27T10:56:47.117-04:002015-06-27T10:56:47.117-04:00I'm actually still working my way through the ...I'm actually still working my way through the chapter myself, but a couple of observations I find interesting:<br /><br />El Greco: it's hard to believe this man lived and painted over 400 years ago - his work seems so contemporary and ahead of his time! I can see why Speed loves his work. As much as I've always tended to gravitate towards more classical styles of painting, I find El Greco's work, well, refreshing and beautifully alive in his use of color and movement.<br /><br />I have read many approaches to the do's and don't's of composition, but I'm really enjoying Speed's discussion about the use of lines in relation to rhythm and unity. I find it not only helpful and instructive to what I'm trying (hoping) to do with my forays into fine art, but also photography and design, my profession. In graphic design we are almost always guided by the use of grids in creating the most pleasing or arresting composition of words, graphics and images, and yet I've never given as much thought or consideration into what to me is a similar approach with drawing and painting according to Speed. I also find this useful in the editing images from either a photoshoot or identifying the best images from one of our travels, where previously I've relied mostly on my gut reaction to an image. I can't wait to go back through my image library and look at the images with a fresh POV.<br /><br />One question that came to mind - for either those who have finished the chapter or have thoughts about it, has Speed said or discussed the Golden Ratio at all in relation to line and composition? I've read arguments for and against the Golden Ratio and am curious if Speed or others here have strong thoughts about it...seadithttps://www.blogger.com/profile/13052851423700566814noreply@blogger.com