Fig. 229
In this case the eye is drawn along, by a gradation of values, to the right, toward the edge of greater contrast, away from a large dark mass of tone in which there is no movement. The tendency of the dark mass is to hold the eye at its center. The problem is to find the balance-center between the motion and the mass. I have done this, and the balance-center is indicated by the symmetrical outline of the diagram.
180. Some shapes hold the eye with peculiar force, and in such cases the attractions of tone or measure or shape on the other side have to be increased if we are to have a balance. Symmetrical shapes have a tendency to hold the eye at centers and on axes. Given certain attractions on the other side, we must be sure that they are sufficient to balance the force of the symmetry in addition to the force of its tone-contrasts, whatever they are.
Fig. 230
In this case we have an approximate balance in which the force of a symmetry, with contrasting edges, on one side, is balanced by contrasts and certain movements on the other. If I should turn down the upper spot on the right, we would feel a loss of balance due to the turning of two movements, which combine to make one movement to the right, into two movements down to the right. If I should increase the force of the symmetry, by filling in the center with black, it would be necessary either to move the symmetry nearer to the center or to move the opposite attractions away from it. An unstable attitude in the symmetry would have to be counteracted, in some way, on the other side.
Intricate shapes from which the eye cannot easily or quickly escape often hold the eye with a force which must be added to that of their tone-contrasts.
Fig. 231