BALANCE IN THE COMPOSITIONOF LINES

Fig. 122

Here we have the correspondence of intervals which we did not haveeither inFig. 120or inFig. 121. There is not only a Harmony of Attitudes and of Intervals, in this case, but the Harmony of a repetition in one direction, Direction-Harmony. In all these cases we have the repetition of a certain angle, a right angle, and of a certain measure-relation between the legs of the angle, giving Measure and Shape-Harmony.

95. The repetition in any composition of a certain relation of measures, or of a certain proportion of measures, gives Measure-Harmony to the composition. The repetition of the relation one to three in the legs of the angle, in the illustrations just given, gives to the compositions the Harmony of a Recurring Ratio. By a proportion I mean an equality between ratios, when they are numerically different. The relation of one to three is a ratio. The relation of one to three and three to nine is a proportion. We may have in any composition the Harmony of a Repeated Ratio, as inFigs. 120,121,122, or we may have a Harmony of Proportions, as in the composition which follows.

Fig. 123

96. To be in Harmony lines are not necessarily similar in all respects. As I have just shown, lines may be in Shape-Harmony, without being in any Measure-Harmony. Lines are approximately in harmony when they correspond in certain particulars, though they differ in others. The more points of resemblance between them, the greater the harmony. When they correspond in all respects we have, of course, a perfect harmony.

Fig. 124

This is a case of Shape-Harmony without Measure-Harmony and without Harmony of Attitudes.

Fig. 125

In this case we have a Harmony of Shapes and of Attitudes, without Measure-Harmony or Harmony of Intervals. This is a good illustration of a Harmony of Proportions.

Straight lines are in Harmony of Straightness because they are all straight, however much they differ in tone or measure. They are in Harmony of Measure when they have the same measure of length. The measures of width, also, may agree or disagree. In every agreement we have Harmony.

Angular lines are in Harmony when they have one or more angles in common. The recurrence of a certain angle in different parts of a composition brings Harmony into the composition. Designers are very apt to use different angles when there is no good reason for doing so, when the repetition of one would be more orderly.

Fig. 126

The four lines in this composition have right angles in common. To that extent the lines are in Harmony. There is also a Harmony in the correspondence of tones and of width-measures in the lines. Considerable Harmony of Attitudes occurs in the form of parallelisms.

Fig. 127

These two lines have simply one angle in common, a right angle, and the angle has the same attitude in both cases. They differ in other respects.

Fig. 128

In these three lines the only element making for Harmony, except the same tone and the same width, is found in the presence in each line of a certain small arc of a circle. Straightness occurs in two of the lines but not in the third. There is a Harmony, therefore, between two of the lines from which the third is excluded. There is, also, a Harmony of Attitude in these two lines, in certain parallelisms.

97. Lines balance when in opposite attitudes. We get Balance in all inversions, whether single or double.

Fig. 129

Here similar lines are drawn in opposite attitudes and we get Measure and Shape-Balance. In the above case the axis of balance is vertical. The balance is, therefore, symmetrical. Symmetrical Balance is obtained by the single inversion of any line or lines on a vertical axis. Double inversion gives a Balance of Measures and Shapes on a center. We have no Symmetry in double inversions. All this has been explained.

Fig. 130

We have Measure and Shape-Balance on a center in this case. It is a case of double inversion. It is interesting to turn these double inversions on their centers, and to observe the very different effects they produce in different attitudes.

98. Shapes in order to balance satisfactorily must be drawn in the same measure, as inFig. 131which follows.

Fig. 131Fig. 132

Fig. 131

Fig. 132

Here, inFig. 132, we have Shape-Harmony without Measure-Harmony. It might be argued that we have in this case an illustration of Shape-Balance without Measure-Balance. Theoretically that is so, but Shape-Balance without Measure-Balance is never satisfactory. If we want the lines inFig. 132to balance we must find the balance-center between them, and then indicate that center by a symmetrical inclosure. We shall then have a Measure-Balance (occult) without Shape-Balance.

99. When measures correspond but shapes differ the balance-center may be suggested by a symmetrical inclosure or framing. When that is done the measures become balanced.

Fig. 133

Here we have Measure-Harmony and a Measure-Balance without Shape-Harmony or Shape-Balance. The two lines have different shapes but the same measures, lengths and widths corresponding. The balance-center is found for each line. Seepp. 54, 55. Between the two centers is found the center, upon which the two lines will balance. This center is then suggested by a symmetrical inclosure. The balancing measures in such cases may, of course, be turned upon their centers, and the axis connecting their centers may be turned in any direction or attitude, with no loss of equilibrium, so far as the measures are concerned.

Fig. 134

The Balance of Measures here is just as good as it is inFig. 133.The attitudes are changed but not the relation of the three balance-centers. The change of shape in the inclosure makes no difference.

100. Measure-Balance without Shape-Harmony or Shape-Balance is satisfactory only when the balance-center is unmistakably indicated or suggested, as in the examples which I have given.

101. There is another form of Balance which is to be inferred from what I have said, onpage 18, of the Balance of Directions, but it needs to be particularly considered and more fully illustrated. I mean a Balance in which directions or inclinations to the right are counteracted by corresponding or equivalent directions or inclinations to the left. The idea in its simplest and most obvious form is illustrated inFig. 22, on page 18. In that case the lines of inclination correspond. They do not necessarily correspond except in the extent of contrast, which may be distributed in various ways.

Fig. 135

The balance of inclinations in this case is just as good as the balance inFig. 22. There is no symmetry as in Fig. 22. Three lines balance against one. The three lines, however, show the same extent of contrast as the one. So far as the inclinations are concerned they will balance in any arrangement which lies well within the field of vision. The eye must be able to appreciate the fact that a disposition to fall to theright is counteracted by a corresponding or equivalent disposition to fall to the left.

Fig. 136

This arrangement of the inclining lines is just as good as the arrangement in Fig. 135. The inclinations may be distributed in any way, provided they counteract one another properly.

Fig. 137

In this case I have again changed the composition, and having suggested the balance-center of the lines, as attractions, by a symmetrical inclosure, I have added Measure-Balance (occult) to Inclination-Balance. The Order inFig. 137is greater than the Order inFigs. 135and136. InFig. 137two forms of Balance are illustrated, in the other cases only one. The value of any composition lies in the number of orderly connections which it shows.

Fig. 138

In this case I have taken a long angular line and added a sufficient number and extent of opposite inclinations to make a balance of inclinations. The horizontal part of the long line is stable, so it needs no counteraction, but the other parts incline in various degrees, to the left or to the right. Each inclining part requires, therefore, either a corresponding line in a balancing direction, or two or more lines of equivalent extension in that direction. In one case I have set three lines to balance one, but they equal the one in length, that is to say, in the extent of contrast. We have inFig. 138an illustration of occult Measure-Balance and the Balance of Inclinations. I have illustrated the idea of Inclination-Balance by very simple examples. I have not considered the inclinations of curves, nor have I gone, at all, into the more difficult problem of balancing averages of inclination, when the average of two or more different inclinations of different extents of contrast has to be counteracted. In Tone-Relations the inclinations are of tone-contrasts, and a short inclination with a strong contrast may balance a long inclination with a slight one, or several inclinations of slight contrasts may serve to balance one of a strong contrast. The force of any inclining line maybe increased by increasing the tone-contrast with the ground-tone. In tone-relations the problem becomes complicated and difficult. The whole subject of Inclination-Balance is one of great interest and worthy of a separate treatise.

102. We will first consider the Measure-Rhythms which result from a gradual increase of scale, an increase in the extent of the contrasts. The intervals must, in such Rhythms, be regular and marked. They may be equal; they may alternate, or they may be regularly progressive.

Fig. 139

In this case I feel that the direction of the Rhythm is up-to-the-right owing to the gradual increase of length and consequently of the extent of contrast in the lines, in that direction.

Fig. 140

In this case I have, by means of regularly diminishing intervals, added the force of a crowding together of contrasting edges to the force of a gradual extension of them. The movement is still more strongly up-to-the-right.

Fig. 141

In this case a greater extension of contrasts pulls one way and a greater crowding of contrasts the other. I think that crowding has the best of it. The movement, though much retarded, is, I feel, down-to-the-left rather than up-to-the-right, in spite of the fact that the greater facility of reading to the right is added to the force of extended contrasts.

103. Substituting unstable for stable attitudes in the examples just given, we are able to add the movement suggested by instability of attitude to the movement caused by a gradual extension of contrasts.

Fig. 142

The movement up-to-the-right inFig. 139is here connected with an inclination of all the lines down-to-the-right.

Fig. 143

Here the falling of the lines down-to-the-left counteracts the movementin the opposite direction which is caused by the extension of contrasting edges in that direction. A crowding together of the lines, due to the diminution of intervals toward the left, adds force to the movement in that direction.

Fig. 144

In this case a movement up is caused by convergences, a movement down by crowding. The convergences are all up, the crowding down. I think that the convergences have it. I think the movement is, on the whole, up. The intervals of the crowding down diminish arithmetically.

Fig. 145

The convergences and the crowding of attractions are, here, both up-to-the-right. The Rhythm is much stronger than it was inFig. 144. The intervals are those of an arithmetical progression.

Fig. 146

The movement here is up-to-the-right, because of convergences in that direction and an extension of contrasts in that direction.

Fig. 147

In this case the two movements part company. One leads the eye up-to-the-left, the other leads it up-to-the-right. The movement as a whole is approximately up. As the direction of the intervals is horizontal, not vertical, this is a case of movement without Rhythm. The movement will become rhythmic only in a vertical repetition. That is to say, the direction or directions of the movement in any Rhythm and the direction or directions of its repetitions must coincide. InFig. 139, the movement is up-to-the-right, and the intervals may be taken in the same direction, but inFig. 147the movement is up. The intervals cannot be taken in that direction. It is, therefore, impossible to get any feeling of Rhythm from the composition. We shall get the feeling of Rhythm only when we repeat the movement in the direction of the movement, which is up.

Fig. 148

Here we have a vertical repetition of the composition given inFig. 147. The result is an upward movement in regular and marked intervals, answering to our understanding of Rhythm.

Fig. 149

In this case we have a curved movement. The lines being spaced at regular intervals, the movement is in regular and marked measures. Its direction is due to an increase in the number of attractions, to crowding, and to convergences. The movement is, accordingly, rhythmical.

Fig. 150

The movement ofFig. 149is here partly destroyed by an inversion and opposition of attitudes and directions. The movement is, on the whole, up, but it can hardly be described as rhythmical, because it has no repetition upwards, as it has in the next illustration,Fig. 151. Before proceeding, however, to the consideration ofFig. 151, I want to call the attention of the reader to the fact that we have inFig. 150a type of Balance to which I have not particularly referred. It is a case of unsymmetrical balance on a vertical axis. The balancing shapes and movements correspond. They incline in opposite directions. They diverge equally from the vertical axis. The inclinations balance. At the same time the composition does not answer to our understanding of Symmetry. It is not a case of right and left balance on the vertical axis. The shapes and movements are not right and left and opposite. One of the shapes is set higher than the other. The balance is on the vertical. It is obvious, but it is not symmetrical. It is a form of Balance which has many and very interesting possibilities.

Fig. 151

The repetition, in this case, of somewhat contrary movements, a repetition at equal intervals on a vertical axis, gives us more Balance than Rhythm. We feel, however, a general upward movement through the repetitions and, as this movement is regular, it must be described as rhythmical.

The feeling of upward movement inFig. 151is, no doubt, partly due to the suggestion of upward growth in certain forms of vegetation. The suggestion is inevitable. So far as the movement is caused by this association of ideas it is a matter, not of sensation, but of perception. The consideration of such associations of ideas does not belong, properly, to Pure Design, where we are dealing with sense-impressions, exclusively.

104. Rhythm is not inconsistent with Balance. It is only necessary to get movements which have the same or nearly the same direction and which are rhythmical in character to balance on the same axis and we have a reconciliation of the two principles.

Fig. 152

Here we have a Rhythm, of somewhat contrary movements, withBalance,—Balance on a diagonal axis. The Balance is not satisfactory. The Balance of Inclinations is felt more than the Balance of Shapes.

Fig. 153

In this case we have the combination of a Rhythm of somewhat contrary, but on the whole upward, movements with Symmetry.

If the diverging movements ofFig. 153should be made still more diverging, so that they become approximately contrary and opposite, the feeling of a general upward movement will disappear. The three movements to the right will balance the three movements to the left, and we shall have an illustration of Symmetrical Balance, with no Rhythm in the composition as a whole. It is doubtful whether the balance of contrary and opposite movements is satisfactory. Our eyes are drawn in opposite directions, away from the axis of balance, instead of being drawn toward it. Our appreciation of the balance must, therefore, be diminished. Contrary and opposite movements neutralize one another, so we have neither rest nor movement in the balance of contrary motions.

By bringing the divergences of movement together, gradually, we shall be able to increase, considerably, the upward movement shown inFig. 153. At the same time, the suggestion of an upward growth of vegetation becomes stronger. The increase of movement will be partly explained by this association of ideas.

Fig. 154

Here all the movements are pulled together into one direction. The Rhythm is easier and more rapid. The Balance is just as good. The movement in this case is no doubt facilitated by the suggestion of upward growth. It is impossible to estimate the force which is added by such suggestions and associations.

Fig. 155

Here the movements come together in another way.

The number and variety of these illustrations might, of course, be indefinitely increased. Those which I have given will, I think, serve to define the principal modes of line-composition, when the lines are such as we choose to draw.

105. In most of the examples I have given I have used repetitions of the same line or similar lines. When the lines which are put together are not in harmony, when they are drawn, as they may be, without anyregard to the exigencies of orderly composition, the problem becomes one of doing the best we can with our terms. We try for the greatest possible number of orderly connections, connections making for Harmony, Balance, and Rhythm. We arrange the lines, so far as possible, in the same directions, giving them similar attitudes, getting, in details, as much Harmony of Direction and of Attitudes as possible, and establishing as much Harmony of Intervals as possible between the lines. By spacing and placing we try to get differences of character as far as possible into regular alternations or gradations in which there will be a suggestion either of Harmony or of Rhythm. A suggestion of Symmetry is sometimes possible. Occult Balance is possible in all cases, as it depends, not upon the terms balanced, but upon the indication of a center of attractions by a symmetrical framing of them.

Let us take seven lines, with a variety of shape-character, with as little Shape-Harmony as possible, and let us try to put these lines together in an orderly way.

Fig. 156

With these lines, which show little or no harmony of character, which agree only in tone and in width-measure, lines which would not be selected certainly as suitable material for orderly compositions, I will make three compositions, getting as much Order into each one as I can, just to illustrate what I mean. I shall not be able to achieve a great deal of Order, but enough, probably, to satisfy the reader that the effort has been worth while.

Fig. 157

In this case I have achieved the suggestion of a Symmetrical Balance on a vertical axis with some Harmony of Directions and of Attitudes and some Interval-Harmony.

Fig. 158

In this case, also, I have achieved a suggestion of Order, if not Order itself. Consider the comparative disorder inFig. 156, where no arrangement has been attempted.

Fig. 159

Here is another arrangement of the same terms. Fortunately, in all of these cases, the lines agree in tone and in width-measure. That means considerable order to begin with.

This problem of taking any terms and making the best possible arrangement of them is a most interesting problem, and the ability to solve it has a practical value. We have the problem to solve in every-day life; when we have to arrange, as well as we can, in the best possible order, all the useful and indispensable articles we have in our houses. To achieve a consistency and unity of effect with a great number and variety of objects is never easy. It is often very difficult. It is particularly difficult when we have no two objects alike, no correspondence, no likeness, to make Harmony. With the possibility of repetitions and inversions the problem becomes comparatively easy. With repetitions and inversions we have the possibility, not only of Harmony, but of Balance and Rhythm. With inversions we have the possibility, not only of Balance, but of Symmetrical Balance, and when we have that we are not at all likely to think whether the terms of which the symmetry is composed are in harmony or not. We feel the Order of Symmetry and we are satisfied.

Fig. 160

In this design I repeat an inversion of the arrangement inFig. 158. The result is a symmetry, and no one is likely to ask whether theelements of which it is composed are harmonious or not. By inversions, single and double, it is possible to achieve the Order of Balance, in all cases.

Fig. 161

For this design I have made another arrangement of my seven lines. The arrangement suggests movement. In repeating the arrangement at regular and equal intervals, without change of attitude, I produce the effect of Rhythm. Without resorting to inversion, it is difficult to make evenan approximation to Symmetry with such terms (see Fig. 157), but there is little or no difficulty in making a consistent or fairly consistent movement out of them, which, being repeated at regular intervals, without change of attitude, or with a gradual change of attitude, will produce the effect of Rhythm.

Up to this point I have spoken of the composition of lines in juxtaposition, that is to say, the lines have been placed near together so as to be seen together. I have not spoken of the possibilities of Contact and Interlacing. The lines in any composition may touch one another or cross one another. The result will be a composition of connected lines. In certain cases the lines will become the outlines of areas. I will defer the illustration of contacts and interlacings until I come to consider the composition of outlines.

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