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.
TONE-BALANCE
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.