all lines of indication, gesture, draperies, etc., should be set, before the camera begins "shooting," and these lines should connect up with the paths of previously moving objects, so that the spectator's eyes may sweep at once to the central interest.
The need of this may be illustrated by a horrible example. Let us turn to the "still" on page 55. It is a safe bet that every one who looks at this picture will first see a long diagonal pole, one of the supports of the swing, because that is the longest, most striking line of the picture. The poles leaning together and the converging chains, though of no dramatic importance whatsoever, attract immediate attention to themselves, and also carry the eye to the two standing girls; which is clearly a mistake in composition, for the real interest evidently lies in the facial expressions of the man and woman, who are conversing with each other.
Students of pictorial design have discovered that, of all converging lines in a drawing, those which meet at right angles usually attract the eyes most strongly. Now if we look again at the "still" under discussion we will observe that there are many square corners in its composition, but that none of these angles coincide with any interest deserving of pictorial emphasis. Two of the strongest accents are at the square corners where the long pole and the brick curbing meet. Yet there is certainly no very exciting interest in that region. Hence our eyes wander thither in vain.
Let us speculate for a moment on what would happen to this composition if we remove the diagonal poles, chains, etc., and turn the swing into a seat.
