Harmony, Balance, and Rhythm in Outlines
107. What is Harmony or Balance or Rhythm in a line is Harmony, Balance, or Rhythm in an Outline.
In this outline we have Measure-Harmony in the angles, Measure-Harmony of lengths in the legs of the angles, Measure and Shape-Balance on a center and Symmetry on the vertical axis. The same statement will be true of all polygons which are both equiangular and equilateral, when they are balanced on a vertical axis.
In this case we have Measure-Harmony of angles but no Measure-Harmony of lengths in the legs of the angles. We have lost Measure and Shape-Balance on a center which we had in the previous example.
In this case the angles are not all in a Harmony of Measure; but we have Measure-Harmony of lengths in the legs of the angles, and we have Measure and Shape-Balance on a center. There is a certain Harmony in the repetition of a relation of two angles.
In this case we have Measure-Harmony in the angles, which are equal, and a Harmony due to the repetition of a certain measure-relation in the legs of the angles. As in Fig. 162, we have here a Measure and Shape-Balance on a center and Symmetry on the vertical axis. This polygon is not equilateral, but its sides are symmetrically disposed. Many interesting and beautiful figures may be drawn in these terms.
We have in the circle the most harmonious of all outlines. The Harmony of the circle is due to the fact that all sections of it have the same radius and equal sections of it have, also, the same angle-measure. The circle is, of course, a perfect illustration of Measure and Shape-Balance on a center. The balance is also symmetrical. We have a Harmony of Directions in the repetition of the same change of direction at every point of the outline, and we have a Harmony of Distances in the fact that all points of the outline are equally distant from the balance-center, which is unmistakably felt.
The Ellipse is another example of Measure and Shape-Balance on a center. In this attitude it is also an illustration of Symmetry.
In this case we still have balance but no symmetry. The attitude suggests movement. We cannot help feeling that the figure is falling down to the left. A repetition at equal intervals would give us Rhythm.
In this case we have an outline produced by the single inversion of a line in which there is the repetition of a certain motive in a gradation of measures. That gives Shape-Harmony without Measure-Harmony. This is a case of Symmetrical Balance. It is also a case of rhythmic movement upward. The movement is mainly due to convergences.
In this case, also, the shapes repeated on the right side and on the left side of the outline show movements which become in repetitions almost rhythmical. The movement is up in spite of the fact that each part of the movement is, in its ending, down. We have in these examples symmetrical balance on a vertical axis combined with rhythm on the same axis. It may be desirable to find the balance-center of an outline when only the axis is indicated by the character of the outline. The principle which we follow is the one already described. In Fig. 169 we have a symmetrical balance on a vertical axis, but there is nothing to indicate the balance-center. It lies on the axis somewhere, but there is nothing to show us where it is. Regarding the outline as a line of attractions, the eye is presumably held at their balance-center, wherever it is. Exactly where it is is a matter of visual feeling. The balance-center being ascertained, it may be indicated by a symmetrical outline or inclosure, the center of which cannot be doubtful.
The balance-center, as determined by visual feeling, is here clearly indicated. In this case besides the balance on a center we have also the Symmetry which we had in Fig. 169.
The sense of Balance is, in this case, much diminished by the change of attitude in the balanced outline. We have our balance upon a center, all the same; but the balance on the vertical axis being lost, we have no longer any Symmetry. It will be observed that balance on a center is not inconsistent with movement. If this figure were repeated at equal intervals without change of attitude, or with a gradual change, we should have the Rhythm of a repeated movement.
In some outlines only certain parts of the outlines are orderly, while other parts are disorderly.
In the above outline we have two sections corresponding in measure and shape-character and in attitude. We have, therefore, certain elements of the outline in harmony. We feel movement but not rhythm in the relation of the two curves. There is no balance of any kind.
We ought to be able to recognize elements of order as they occur in any outline, even when the outline, as a whole, is disorderly.
In order to balance the somewhat irregular outline given in Fig. 173, we follow the procedure already described. The effect, however, is unsatisfactory. The composition lacks stability.
The attitude of the figure is here made to conform, as far as possible, to the shape and attitude of the symmetrical framing: this for the sake of Shape and Attitude-Harmony. The change of attitude gives greater stability.