Harold Speed

The subject of Rhythm in what are called the Fine Arts is so vague, and has received so little attention, that some courage, or perhaps foolhardiness, is needed to attack it. And in offering the following fragmentary ideas that have been stumbled on in my own limited practice, I want them to be accepted only for what they are worth, as I do not know of any proper authority for them. But they may serve as a stimulus, and offer some lines on which the student can pursue the subject for himself.

by Harold Speed

Line rhythm or music depends on the shape of your lines, their relation to each other and their relation to the boundaries of your panel. In all good work this music of line is in harmony with the subject (the artistic intention) of your picture or drawing.

Permit me in the first place to anticipate the disappointment of any student who opens this book with the idea of finding "wrinkles" on how to draw faces, trees, clouds, or what not, short cuts to excellence in drawing, or any of the tricks so popular with the drawing masters of our grandmothers and still dearly loved by a large number of people. No good can come of such methods, for there are no short cuts to excellence.

Unity of line is a bigger quality than variety, and as it requires a larger mental grasp, is more rarely met with. The bigger things in drawing and design come under its consideration, including, as it does, the relation of the parts to the whole. Its proper consideration would take us into the whole field of Composition, a subject needing far more consideration than it can be given in this book.

The masses that go to make up a picture have variety in their shape, their tone values, their edges, in texture or quality, and in gradation.