Advertising and selling : principles of appeal and response . ines in order to counterbalanceload or resistance. Hence, when we see these di-agonals, we associate the direction with the ob-lique lines which we observe when human beingsare active. (b) The diagonal sets up imitative movementson the part of the observer. We tend to throw ourown body in a direction corresponding to that ofthe line, and these movements at once call up thefeelings of strain and activity associated withthem under other circumstances. The GladiatorCombatant in the Louvre and the diagonal ofthe three figures running, s
Advertising and selling : principles of appeal and response . ines in order to counterbalanceload or resistance. Hence, when we see these di-agonals, we associate the direction with the ob-lique lines which we observe when human beingsare active. (b) The diagonal sets up imitative movementson the part of the observer. We tend to throw ourown body in a direction corresponding to that ofthe line, and these movements at once call up thefeelings of strain and activity associated withthem under other circumstances. The GladiatorCombatant in the Louvre and the diagonal ofthe three figures running, suggests this rush andspeed of the oblique line generally. So does bas-relief on Boston Commons, and theWinged Victory fragment. 4. Curves.—Generally speaking, curves are morepleasing than straight lines, whether the curve bearc, serpentine, loop, spiral or what not. The 147 PRINCIPLES OF APPEAL AND RESPONSE reason for this preference for curves is not veryclear. The old theory that the most natural andagreeable eye movement was such as would be. Feeling Tone from Direction of Lines made in following the preferred curves has beenshown to be false. The eye, even in followingcurves, exerts jerky and irregular movements,which when traced or photographed do not at allmake aesthetic lines. The most probable explan-ation is that offered by Gordon that the curve 148 FEELING TONE OF FORM suggests smooth and easy movement in otherparts of the body. We are able to move hand,wrists, head and feet, at least in serpentine linesand to experience the greatest ease and pleasureas well as the greater economy and power of thesemovements. It seems fair to assume that thememory of these movements, and perhaps someactual half-conscious movements like them, maybe the basis of our aesthetic appreciation of theserpentine line. At any rate, curves, whether they occur in copy,cut or decorative design, avoid the hardness andstiffness likely to be produced by straight lines,giving an atmospher
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Keywords: ., bookcentury1900, bookdecade1910, bookpublishernewyo, bookyear1913
