Diagram 17
The Harmony here indicated will lie in the repetition of certain contrasts in which there is no Harmony.
The Harmony of a repeated contrast, or contrasts, is a very important form of Tone-Harmony. It means that a certain effect of light due to the juxtaposition or association of certain tones recurs repeatedly, let us say at equal or approximately equal intervals, all over a certain space. The result is sure to be harmonious, no matter how strong the tone-contrasts are in the group or series, provided that the repetitions are well within the range of vision so that they may be compared, and the recurrence of the same effect of light appreciated. We must not be too near to the arrangement, for in that case the contrasts of the repeated group will be more noticeable than the even tonality of the all-over repetition. Every even, all-over effect of light, no matter what the contrasts are which produce it, gives us the feeling of Harmony.
169. In such compositions as the one indicated in Diagram 17 predominance may be given to one tone by having it recur in larger spots in each group or in a greater number of spots, two or more in each group. In this way, in a composition of many colors in different values, predominance may be given to Middle Blue or Light Orange or Dark Blue-Violet, or any other particular tone. Predominance may be given to neutral gray of a certain value, by having it recur in larger spots or in numerous small spots.
170. Neutral gray may be made to predominate in another way; by so composing the tones, in the group to be repeated, that they neutralize one another at a certain distance,—the point of view of the observer.
| Y | G | Y | G | Y | G |
| R | V | R | V | R | V |
| Y | G | Y | G | Y | G |
| R | V | R | V | R | V |
In this case Yellow and Violet will neutralize one another and Red will neutralize Green. The effect of the repetition of these complementary oppositions ought to be, at a certain distance, a very lively neutral.
It has been the idea of certain painters of our time to subject every tone-impression to analysis, and to produce the effect of the tone by an arrangement or composition of its elements. Many interesting and some beautiful results have been produced in this way.
| B | R | Y | B | R | |||||
| Y | B | R | Y | ||||||
| B | R | Y | B | R | |||||
| Y | B | R | Y | ||||||
| B | R | Y | B | R | |||||
| Y | B | R | Y | ||||||
| B | R | Y | B | R | |||||
In this case we have a repetition of the triad Red-Yellow-Blue, which, at a certain distance, ought to produce the effect of a middle neutral. The principle of these arrangements is one of the most important in tone-composition.
171. There is another consideration which ought to keep us from any morbid interest in harmonious monotonies, which ought to reconcile us to contrasts, even strong contrasts, and to a great variety in tones. Harmony is only one principle of composition in Design; we have two others which are equally important,—the principle of Balance and the principle of Rhythm. The principles of Balance and Rhythm are consistent with the greatest possible contrasts of tone. The tone-contrasts in forms of Balance and Rhythm may be strong, even harsh, and the appreciation and enjoyment of the Balance or of the Rhythm in no degree diminished.
We will now proceed to the consideration of Tone-Balance and Tone-Rhythm.