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.