Part 9

In bringing tones into harmony, by one or another or all of these various methods, we must remember that when we have diminished the contrast of value and of color beyond a certain point the result is monotony, a monotony which may be undesirable. It is easy to get into a state of mind in which we dislike all contrasts. In this state of mind we find no æsthetic satisfaction except in monotony. Such a state of mind should be avoided. Monotony is the Nirvana of æstheticism.

168. We may have a Harmony in the repetition and recurrence of two or more contrasting, even strongly contrasting, tones. We may have Harmony in the repetition and recurrence of a contrast in which there is perhaps no Harmony.

For example: I may repeat the contrast Orange-Blue any number of times in a certain composition. There is no Harmony of Value or of Color in the contrast, but in repeating the contrast I have the Harmony of a Repetition, just as I have a Harmony in the repetition of a certain line or outline in which there is no order of any kind. The Harmony lies solely in the repetition or recurrence. In this way I may repeat, at equal intervals all over a certain space, the various contrasts indicated by the following diagram:—

[Illustration: Diagram 16]

There is no Harmony in the relation of tones here indicated, but we shall get Harmony in the repetition of this relation.

[Illustration: Diagram 17]

The Harmony here indicated will lie in the repetition of certain contrasts in which there is no Harmony.

The Harmony of a repeated contrast, or contrasts, is a very important form of Tone-Harmony. It means that a certain effect of light due to the juxtaposition or association of certain tones recurs repeatedly, let us say at equal or approximately equal intervals, all over a certain space. The result is sure to be harmonious, no matter how strong the tone-contrasts are in the group or series, provided that the repetitions are well within the range of vision so that they may be compared, and the recurrence of the same effect of light appreciated. We must not be too near to the arrangement, for in that case the contrasts of the repeated group will be more noticeable than the even tonality of the all-over repetition. Every even, all-over effect of light, no matter what the contrasts are which produce it, gives us the feeling of Harmony.

169. In such compositions as the one indicated in Diagram 17 predominance may be given to one tone by having it recur in larger spots in each group or in a greater number of spots, two or more in each group. In this way, in a composition of many colors in different values, predominance may be given to Middle Blue or Light Orange or Dark Blue-Violet, or any other particular tone. Predominance may be given to neutral gray of a certain value, by having it recur in larger spots or in numerous small spots.

170. Neutral gray may be made to predominate in another way; by so composing the tones, in the group to be repeated, that they neutralize one another at a certain distance,—the point of view of the observer.

+---+---+---+---+---+---+ | Y | G | Y | G | Y | G | +---+---+---+---+---+---+ | R | V | R | V | R | V | +---+---+---+---+---+---+ | Y | G | Y | G | Y | G | +---+---+---+---+---+---+ | R | V | R | V | R | V | +---+---+---+---+---+---+ Diagram 18

In this case Yellow and Violet will neutralize one another and Red will neutralize Green. The effect of the repetition of these complementary oppositions ought to be, at a certain distance, a very lively neutral.

It has been the idea of certain painters of our time to subject every tone-impression to analysis, and to produce the effect of the tone by an arrangement or composition of its elements. Many interesting and some beautiful results have been produced in this way.

[Illustration: Diagram 19]

In this case we have a repetition of the triad Red-Yellow-Blue, which, at a certain distance, ought to produce the effect of a middle neutral. The principle of these arrangements is one of the most important in tone-composition.

171. There is another consideration which ought to keep us from any morbid interest in harmonious monotonies, which ought to reconcile us to contrasts, even strong contrasts, and to a great variety in tones. Harmony is only one principle of composition in Design; we have two others which are equally important,—the principle of Balance and the principle of Rhythm. The principles of Balance and Rhythm are consistent with the greatest possible contrasts of tone. The tone-contrasts in forms of Balance and Rhythm may be strong, even harsh, and the appreciation and enjoyment of the Balance or of the Rhythm in no degree diminished.

We will now proceed to the consideration of Tone-Balance and Tone-Rhythm.

TONE-BALANCE

172. Tones, simply as tones, disregarding the positions, measures, and shapes which may be given to them, balance, when the contrasts which they make with the ground-tone upon which they are placed are equal. We have an indication of such a balance of tones, simply as tones, in the following formula:—

LD - V -------------------- HLt - Y HLt - Y

Two spots of High Light Yellow occur on a ground-tone of Low Dark Violet. The two spots of Yellow make equal contrasts with the ground-tone, and for that reason balance as tones, no matter what positions, measures, and shapes are given to them. The value-contrast is that of the interval of the seventh in the Scale of Values; the color-contrast is that of the interval of the seventh in the Scale of Colors. We must assume that the intensities are so adjusted as not to disturb the balance.

M - V ----------------- Lt - O D - O

In this case the values making the contrasts differ. The contrasts are, nevertheless, equal because the value-intervals are equivalent intervals. The value difference between Light and Middle is equivalent to the value difference between Dark and Middle. Though the contrasting elements differ, the contrasts are equal. In this case the contrasting colors are the same and the color-contrasts correspond. We must assume that the intensities are so adjusted as not to disturb the balance.

LD - V -------------------- LLt - O LLt - G

In this case the contrasting colors differ, but the contrasts are equal because the color-interval between Orange and Violet is the same as the color-interval between Green and Violet. In this case the value-contrasts correspond. We must assume here, as before, that there is no difference of color-intensity to disturb the balance.

D - R ------------------ HD - O LD - V

In this case the two tones which balance on the ground-tone differ both in value and in color. They balance, nevertheless, because both the value and the color-contrasts are of the interval of the third. Again we must assume that there is no disparity of intensities to disturb the balance.

173. The reader will find the Diagram of Values and Colors (No. 5) very useful in making calculations for tone-balances, so far as value-contrasts and color-contrasts are concerned, leaving out considerations of color-intensity.

Taking any tone indicated on the Diagram as a ground-tone, any tones at equal distances in balancing directions will balance on that ground-tone.

[Illustration: Diagram 20]

The various types of tone-balance are shown in the above diagram. The tones which balance, one against the other, on the ground-tone of Blue-Violet, are the tones marked by the same number.

The value and color-balances being achieved, the intensities may be adjusted, increased or diminished, until the balance is perfect.

174. As you increase the color-intensity in any tone it attracts more attention, and unless you increase the intensity in the opposite tones there will be a disparity which will disturb your balance. When the intensity in any tone is too great, you can increase the color-contrast or the value-contrast of the opposite tones until the balance is achieved.

175. Up to this point I have been speaking of Tone-Balance in the abstract, of Tone-Balance as such. I have spoken of Tone-Balance as something apart from Position, Measure, and Shape-Balance, as if tones could balance without having any positions, measures, or shapes assigned to them. The fact is that a tone does not exist until you give it a position, a measure, and a shape. It follows that Tone-Balance is, in all cases, more or less complicated by considerations of position, measure, and shape.

176. The principle of balance being that equal attractions balance at equal distances and unequal attractions at distances inversely proportional to them, it follows, that if the attraction of a tone is increased by quantity, the attraction of quantity may be balanced against the attraction of contrast. The calculation of such balances may be made on the Diagram of Values and Colors.

[Illustration: Diagram 21]

In this case, for example, we have the indication of a possible balance of two parts of Light Red and one part of Dark Green on a ground-tone of Middle Violet, the difference of contrast in one case making up for a difference of quantity and of contrasting edge in the other.

177. So far as Tone-Balance depends upon positions, measures, and shapes, the problem is the problem of Position, Measure, and Shape-Balance, which we have already considered.

Given certain tones in certain measures and shapes, the inversion of the measures and shapes involves an inversion of the tones, so we have a Tone-Balance as well as a Measure and Shape-Balance. The inversion in any case may be single or double.

[Illustration: Diagram 22]

In this case we have an instance of single inversion, which gives us a Symmetrical Balance, of tones, as well as of measures and shapes.

[Illustration: Diagram 23]

In this case we have an instance of double inversion of tones, as well as of measures and shapes.

178. The tones and tone-contrasts on one side of a center or axis are not necessarily the same as those on the other side. We may have a Tone-Balance in which very different tones and tone-contrasts are opposed to one another. This brings us to the consideration of Occult Balance in Tones, Measures, and Shapes.

A balance of any tones and of any tone-contrasts, in any measures and in any shapes, is obtained when the center of tone-attractions is unmistakably indicated, either by the symmetrical character of the balance or by a symmetrical inclosure which will indicate the center. Given any combination of tones, measures, and shapes, and the problem to find the balance-center, how shall we solve the problem? It cannot very well be done by reasoning. It must be done by visual feeling. The principle of Balance being clearly understood, finding the center of any tone-contrasts is a matter of experimental practice in which those persons succeed best who are most sensitive to differences of tone, and who make the greatest effort to feel the centers and to indicate them accurately. Experience and practice are necessary in all cases.

[Illustration: Fig. 228]

Here, within this circle, are the attractions to be balanced. The problem is to find the balance-center, and to indicate that center by a symmetrical inclosure which will bring the tones, measures, and shapes into a Balance. The center is here indicated by the circle. Whether it is correctly indicated is a matter of judgment in which there may be a difference of opinion. There is a center somewhere upon which the attractions are balancing. The question is, where is it? The illustration which I have given is in the terms of the Scale of Neutral Values. Differences of color and color-intensity would complicate the problem, but would not in any way affect the principle involved. I know of no more interesting problem or exercise than this: to achieve Tone-Balance where there is no Tone-Symmetry.

179. It will sometimes happen, that a gradation of tones or measures will draw the eye in a certain direction, toward the greater contrast, while a larger mass or measure of tone, on the other side, will be holding it back. In such a case we may have a mass balancing a motion.

[Illustration: Fig. 229]

In this case the eye is drawn along, by a gradation of values, to the right, toward the edge of greater contrast, away from a large dark mass of tone in which there is no movement. The tendency of the dark mass is to hold the eye at its center. The problem is to find the balance-center between the motion and the mass. I have done this, and the balance-center is indicated by the symmetrical outline of the diagram.

180. Some shapes hold the eye with peculiar force, and in such cases the attractions of tone or measure or shape on the other side have to be increased if we are to have a balance. Symmetrical shapes have a tendency to hold the eye at centers and on axes. Given certain attractions on the other side, we must be sure that they are sufficient to balance the force of the symmetry in addition to the force of its tone-contrasts, whatever they are.

[Illustration: Fig. 230]

In this case we have an approximate balance in which the force of a symmetry, with contrasting edges, on one side, is balanced by contrasts and certain movements on the other. If I should turn down the upper spot on the right, we would feel a loss of balance due to the turning of two movements, which combine to make one movement to the right, into two movements down to the right. If I should increase the force of the symmetry, by filling in the center with black, it would be necessary either to move the symmetry nearer to the center or to move the opposite attractions away from it. An unstable attitude in the symmetry would have to be counteracted, in some way, on the other side.

Intricate shapes from which the eye cannot easily or quickly escape often hold the eye with a force which must be added to that of their tone-contrasts.

[Illustration: Fig. 231]

In this case the shape on the right requires a pretty strong dark spot to balance its contrasts and its intricacy.

The problem is further complicated when there are, also, inclinations, to the right or to the left, to be balanced.

[Illustration: Fig. 232]

In this case I have tried to balance, on the center of a symmetrical inclosure, various extensions and inclinations of tone-contrast, the movement of a convergence, and the force of a somewhat intricate and unstable symmetry.

These occult forms of Balance are not yet well understood, and I feel considerable hesitation in speaking of them. We have certainly a great deal to learn about them. They are far better understood by the Chinese and by the Japanese than by us.

181. When any line or spot has a meaning, when there is any symbolism or representation in it, it may gain an indefinite force of attraction. This, however, is a force of attraction for the mind rather than for the eye. It affects different persons in different measures. The consideration of such attractions, suggestions, meanings, or significations does not belong to Pure Design but to Symbolism or to Representation.

TONE-RHYTHM

182. The idea of Tone-Rhythm is expressed in every regular and perfect gradation of Tones; of values, of colors or of color-intensities, provided the eye is drawn through the gradation in one direction or in a series or sequence of directions. This happens when there is a greater tone-contrast at one end of the gradation than at the other. When the terminal contrasts are equal there is no reason why the eye should move through the gradation in any particular direction. According to our definition of Rhythm, the gradation should be marked in its stages or measures, and the stages or measures should be regular. That is certainly true, but in all regular and perfect gradations I feel that corresponding changes are taking place in corresponding measures, and I get the same feeling from such a gradation that I get from it when it is marked off in equal sections. Though the measures in regular and perfect gradations are not marked, they are, it seems to me, felt. They seem sufficiently marked by the regularity and perfection of the gradation, any irregularity or imperfection being appreciable as a break in the measure. I am inclined, therefore, to say of any regular and perfect gradation that it is rhythmical provided the direction of movement is unmistakable. The direction, as I have said, depends upon the relation of terminal contrasts. The eye is drawn toward the greater contrast, whatever that is and wherever it is. A few examples will make this clear.

M ----------------------------------- Blk LD D HD M LLt Lt HLt Wt

In this case we have the gradation of the Scale of Values set on a ground-tone of the middle value. Here there are two opposed gradations with equal contrasts at the opposite ends. The result is Balance, not Rhythm.

Wt ----------------------------------- Blk LD D HD M LLt Lt HLt Wt

In this case we have a gradation of values beginning with White on White, no contrast at all, and reaching ultimately the contrast of Black and White. The eye is drawn through the tones of this gradation in the direction of this contrast, that is to say, from right to left. It is a clear case of Rhythm. If, instead of white, we had black, as a ground-tone, the movement of the rhythm would be in the opposite direction,—from left to right.

Wt HLt Lt LLt M HD D LD Blk ------------------------------------- Blk LD D HD M LLt Lt HLt Wt

In this case, as in the first, we have equally great contrasts at the ends and no contrast at the middle. The result is Balance, not Rhythm.

V ------------------- Y YG G GB B BV

In this case, disregarding possible differences of value and color-intensities, there will be a color-rhythm proceeding from right to left. The contrast to which the eye will be drawn is the color-contrast of Yellow and Violet.

LD-V ------------------------------------- D-Y HD-YG M-G LLt-GB Lt-B HLt-BV

In this case, disregarding possible differences of intensity, there will be a rhythm of color moving from right to left and a rhythm of values moving from left to right. Assuming that we are equally attracted by corresponding value and color-contrasts, these two rhythms, when produced, will neutralize one another and we shall have an illustration of Tone-Balance rather than Tone-Rhythm. If corresponding color and value-contrasts are not equally attractive we shall have an unequal tug-of-war between the two rhythms.

LD-V ------------------------------------- HLt-Y Lt-YG LLt-G M-GB HD-B D-BV

In this case we have two rhythms, one of values and one of colors, in a Harmony of Direction. The direction of movement will be from right to left.

HLt-Y⅛ ------------------------------------------------------- HLt-Y HLt-Y⅞ HLt-Y⁶/₈ HLt-Y⅝ HLt-Y⁴/⁸ HLt-Y⅜

In this case we have no change of color and no change of value, but a rhythm of the intensities of one color, in one value. The movement will be from right to left. The ground-tone might be Neutral High Light, the zero-intensity of Yellow. That would not change the direction of the movement.

LD-Y⅛ ------------------------------------------------- HLt-Y Lt-Y⅞ LLt-Y⁶/₈ M-Y⅝ HD-Y⁴/⁸ D-Y⅜

In this case I have indicated a combined movement of values and color-intensities. The direction of the movement will be from right to left.

The tone-rhythms which I have described are based upon the repetition at regular intervals of a certain change of value, of color or of color-intensity. We have Harmony, of course, in the repetition of equal changes, though the changes are not the same changes. The change of value from Middle to Low Light is equal to the change from Low Light to Light, though these changes are not the same changes. The Harmony is, therefore, the Harmony of equivalent contrasts which are not the same contrasts.

183. We have more or less movement in every composition of tones which is unbalanced, in which the eye is not held between equivalent attractions, either upon a vertical axis or upon a center. In all such cases, of tones unbalanced, the movement is in the direction of the greatest contrast. Unless the movement is regular and marked in its measures, as I think it is in all regular and perfect gradations, the movement is not rhythmical. We get Rhythm, however, in the repetition of the movement, whatever it is, in equal or lawfully varying measures, provided the direction of the movement remains the same or changes regularly or gradually. If the line of the movement is up-to-the-right forty-five degrees we have rhythm in the repetition of the movement at equal or lawfully varying intervals, without changes of direction; but we should have Rhythm, also, if the direction of the movement, in its repetitions, were changed, regularly or gradually; if, for example, the direction were changed first from up-right forty-five degrees to up-right forty degrees, then to up-right thirty-five degrees, then to up-right thirty degrees, this at equal or at lawfully varying intervals. In this way the movement of the composition repeated may be carried on and gradually developed in the movement of the series. A reference to Fig. 161, p. 94, and to Fig. 119, p. 68, will help the reader to understand these statements.

184. When any unbalanced composition of tones is singly inverted upon a vertical axis and the movement of the composition follows the axis, either up or down, and this movement, up or down, is repeated, up or down, we get forms of Tone-Rhythm which are also forms of Symmetrical Balance. In the inversions and repetitions of the tone-composition we have Tone-Harmony. As the tones in the repeated composition have certain positions, measures, and shapes, the Harmony, the Balance, and the Rhythm are of Positions, Measures, and Shapes as well as of Tones; so we get the combination of all the terms of Design in all the three modes of Design.

COMPOSITION

THREE GENERAL RULES

185. It is quite impossible for me, in this discussion of terms and principles, to indicate, in any measure, the possibilities of composition, in lines and spots of paint, in tones, measures, and shapes. This is in no sense a Book of Designs. All I have undertaken to do is to give a few very simple examples and to indicate the kind of reasoning to be followed, recommending the same kind of reasoning in all cases. There are three general rules, however, which I must state.

First. Given a certain outline and certain tones, measures, and shapes to be put into it, it is the Problem of Pure Design to do the best we can, getting as many connections making unity as possible. The process is one of experimenting, observing, comparing, judging, arranging and rearranging, taking no end of time and pains to achieve Order, the utmost possible Order, if possible the Beautiful.