Fig. 3. A group of miscellaneous masses having various measures,
shapes, and tones. Arranged without thought of design.
Choose from [Fig. 3] certain pieces which seem to have a definite similarity of shape. Combine them with another rectangle, as in [Fig. 4], and the result is certainly more orderly and pleasing than the unrelated tangle in [Fig. 3]. In [Fig. 4] we have developed the quality of shape harmony.
But we note that in spite of the harmony of shapes in [Fig. 4] some of the pieces of paper seem unduly prominent because of their blackness. They do not seem harmonious with the gray tone of the others. If we replace them with other pieces gray in color, as in [Fig. 5], the result will be a more pleasing relationship of tone throughout the design. Thus we have made a simple demonstration of tone harmony.
If our pieces of paper were of various colors we could make another arrangement to express a color harmony. The problem of color, however, has so many phases that it is considered separately in this series.
If rhythm is to give us a “regular recurrence” of various features of a design, it will be possible to choose a combination of pieces of paper which will show a rhythmic arrangement, [Fig. 6]. It will be noticeable here that the shapes occur in successive groups which repeat an idea.
We may also arrange a series of pieces in which the tones are rhythmic, progressing from light to dark in repeated groups. This will be a simple example of tone rhythm, [Fig. 7].
Summing up the experiment thus far the following definitions may be noted:
Shape harmony will exist when masses similar in contour or shape are used to form a design.
Tone harmony results from the use of tones in a design which carry a feeling of relationship.