THEORY OF SPOTS
T HE first thing that gives evidence of a desire for expression in black and white art is the placing of a dot or spot upon paper. It is a means of expres sion because it betrays a purpose. If to that dot or spot is added a second, there is more than an expression, there is evident intention, and the mind looks from one to the other, wishing to understand the significance of these two placings. If a third spot is added there is increased significance.
Dots placed as in Figures 16 and 17 convey the idea of something enumerated, they have no art significance, no picture meaning. If, however, they are in a given space enclosed by boundary lines such as a square, oblong or oval, they assume an art meaning, - a mean ing that lies at the foundation of all art. For instance, where in Fig. 18 the dot emphasizes the centre of a picture surface, all attention in the square plane is drawn to the one spot. But in pictures we should be interested in more than the mere centre; in Chapter II
we learned that the whole space became important,