nt, and only to be employed where
there is something important to follow.

EQUIVALENTS

It is the experience of all picture makers that under the limitations
which special subjects impose they are often obliged to search for an
equivalent with which to comply with the requirements of composition.

If, for instance, in the arrangement of a picture it is found necessary to
move an object--a tree, figure or other item of importance, instead of
obliteration and repainting, the result is attained by creating an
attraction on the side from which it is to be moved.

By so doing the range of the picture is increased and its space seems to
take in more than its limits presupposed: If an isolated tree standing
against a mass of trees, by opening the sky through that mass or by
creating attraction of color or form therein, the vision is led to the far
side of the object to be moved, which is thereby crowded out of its
position in the balancing scheme.

An object upon a surface may frequently give place to a dark or light
variation of the surface itself which becomes an equivalent of attraction.

Several objects may be made to balance without rearrangement though the
marginal proportions of the picture are altered. The _ship and moon_
compose as an upright, but not in long shape without either the following
line which indicates the ship's course; or an object of attraction in the
opposing half either in the distance or foreground, much less being
required in the latter than the former. The equivalent therefore of the
leading line is the object on the farther shore.

The necessity of either the one or the other is more clearly shown when
the line from the boat swings in the opposite direction.

An object may be rendered less important by surrounding it with objects of
its own kind and color.

An abrupt change in the direction of a line may have attraction equal to
an object on that line.

With two spaces of equal size, importance may be given to one of them by
increasing its light; by using leading lines toward it, by placing an
accent upon it, by creating a gradation in it.

Spots often become the equivalent of lines in their attractive value.

A series of oppositional lines has more picturesqueness than the tangent,
its equivalent.

A gradation may have the equivalent attraction of an object.

A line in its continuity is more attractive than a succession of isolated
objects.