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:—

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.

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.

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.

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 theDiagram 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.

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 assomething 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 theDiagram of Values and Colors.

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.

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.

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 inany 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.

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 adifference 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.

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 theattractions 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.

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.

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.

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.

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