17. Principles of basic design

17 - 04 RHYTHM

Rhythm consists of a directional movement created by patterns having strong and weak pulsations. Rhythm, in music, is a constituent of time and movement. There is rhythm in the seasons, in the phases of the moon and the tides of the seas, in the chirping of birds and insects, in the voices of animals and in the movement patterns of snakes and crabs. There is rhythm in man - in his walking, running, and breathing, in his speech and in his dance.

In visual arts and architecture, the rhythmic configurations, although of great importance, are of a different order. Indeed, no tradition of ornament or decoration seems to have existed without it; nor does the future hold promise of any artistic achievement, which defies this basic principle. A lack of rhythm almost immediately generates chaos - and chaos is not an appealing aesthetic element.

Rhythm, in art and architecture is an implied or frozen one. It lies in wait for the eager, attentive observer. It may lie modestly on the surface as embellishment, or it may govern the very concept of the whole design.

17 - 05 BALANCE - SYMMETRY AND ASYMMETRY

Stabilized repetition is balance - it restrains movement and organizes weights around a centre of gravity. A pull in one direction is counteracted by a pull in its opposite direction - and this balance when encountered in art and design can only be perceived by the observer.

Visual balance can be achieved by using pleasing proportions of positive and negative spaces - when one area of visual dominance in the composition is combined with other areas taking on a subordinate role. So, a small positive area may visually balance a negative area of a much larger physical size.

a. Symmetrical or Formal Balance -is stable and safe, easier to use and recognize, and thus the obvious choice of student-artists. However, it tends to become too familiar and lifeless in a short time. This, of course, does not mean that formal or near formal balance can never be visually exciting - sophisticated handling, using subtle contrasts and tensions, can certainly enhance a symmetrical composition. Even a small amount of conflict introduced in a composition can prevent it from becoming monotonous. Also, it may be noted that some of the greatest designs of the world, from architecture, to furniture, to jewellery, are embodiments of inspired symmetry.

b. Asymmetrical or Informal Balance - is sometimes called Occult balance, and is particularly difficult to describe. The word 'occult' denotes secretiveness, mystery; and indeed there is something that wants to escape us in fine examples of this kind of balance.

Asymmetry, in all uses of it, has a way of inviting the spectator to participate in offbeat rhythms, elastic tempos, and tensions, to feel the internal life of the design. It involves a balance of qualities, rather than just weights. Examples may include a large area of pale blue versus a small area of intense red, a small solid geometric form versus a large porous organic shape, advancing forms versus receding forms and so forth.