Fig. 226
Fig. 226
In this case, for example, the eye follows the direction of convergences, but we can easily force it to turn and move in the opposite direction, by widening the lines in that direction, thus increasing the extent of contrasting edge until it more than outbalances the convergences; as in the following illustration:—
Fig. 227
Fig. 227
121. What has been said about the composition of Lines and Outlines applies equally well to the composition of Areas, so far as they are distinguished and defined by outlines. We will now proceed to consider areas as distinguished and defined, not by outlines, but by tone-contrasts. The composition of lines and outlines is one thing, thecomposition of tones in different positions, measures, and shapes is another. In putting lines and outlines together we draw. The point of view is that of drawing. In putting tones in different positions, measures, and shapes we paint. The point of view is that of the painting.