A theory of pure design

by Denman Waldo Ross

Fig. 152

Here we have a Rhythm, of somewhat contrary movements, with Balance,—Balance on a diagonal axis. The Balance is not satisfactory. The Balance of Inclinations is felt more than the Balance of Shapes.

Fig. 153

In this case we have the combination of a Rhythm of somewhat contrary, but on the whole upward, movements with Symmetry.

If the diverging movements of [Fig. 153] should be made still more diverging, so that they become approximately contrary and opposite, the feeling of a general upward movement will disappear. The three movements to the right will balance the three movements to the left, and we shall have an illustration of Symmetrical Balance, with no Rhythm in the composition as a whole. It is doubtful whether the balance of contrary and opposite movements is satisfactory. Our eyes are drawn in opposite directions, away from the axis of balance, instead of being drawn toward it. Our appreciation of the balance must, therefore, be diminished. Contrary and opposite movements neutralize one another, so we have neither rest nor movement in the balance of contrary motions.

By bringing the divergences of movement together, gradually, we shall be able to increase, considerably, the upward movement shown in [Fig. 153]. At the same time, the suggestion of an upward growth of vegetation becomes stronger. The increase of movement will be partly explained by this association of ideas.

Fig. 154

Here all the movements are pulled together into one direction. The Rhythm is easier and more rapid. The Balance is just as good. The movement in this case is no doubt facilitated by the suggestion of upward growth. It is impossible to estimate the force which is added by such suggestions and associations.