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.