Balance in the Composition of Lines
97. Lines balance when in opposite attitudes. We get Balance in all inversions, whether single or double.
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.
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 in Fig. 131 which follows.
Here, in Fig. 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 in Fig. 132 to 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.
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. See pp. 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.
The Balance of Measures here is just as good as it is in Fig. 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, on page 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 in Fig. 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.
The balance of inclinations in this case is just as good as the balance in Fig. 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 the right is counteracted by a corresponding or equivalent disposition to fall to the left.
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.
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 in Fig. 137 is greater than the Order in Figs. 135 and 136. In Fig. 137 two 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.
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 in Fig. 138 an 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 may be 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.