A theory of pure design

by Denman Waldo Ross

Fig. 197

In this case we have a Harmony of Attitudes in the repetition of a relation of two opposite attitudes; this with Shape-Harmony and Interval-Harmony.

Fig. 198

In this case we have a Symmetry of Attitudes, with Shape-Harmony and Interval-Harmony. Turning the composition off the vertical axis we should have Balance but no Symmetry. The balance-center will be felt in all possible attitudes of this composition.

Fig. 199

In this case I have repeated a certain outline, which gives me the Harmony of a repetition,—this in connection with a progression in scale, so that the Harmony is Shape-Harmony, not Measure-Harmony. We have in the attitude of this repetition a Symmetrical Balance. The movement is rhythmical and the direction of the rhythm is up.

The movement in [Fig. 199] might be indefinitely increased by the introduction into it of a gradation of attractions, increasing in number. That means that the extent of contrasting edges is increased from measure to measure.