Atkinson: Harmony, Unity, Rhythm & Balance

[Mike Jackson]

From Frank Atkinson's Last and Final Book on Art, 1950

There are four factors infolved in composition, namely, Harmony, Unity, Rhythm and Balance.

Balance is accomplished in a given area by striking an axiliary line vertically through actual center, and quickly ascertained by ruling or snapping auxiliary lines from corner to corner of the area; where the lines inteersect establishes literal center. The all important "Optical Center" is located a trifle above literal center, about 1/34 the total height of the area.

All panels and letter blocs are balanced above and below optical center, and ot the right and left of vertical auxiliary line.

Greek Rule of Area dictates border and matts unequal - equal sides and unequal top and bottom.

Harmony cannot be achieved without order. Remembering that large and small size lettering is only so by comparison; and so designed that it is an ordar and related to the background or area it occupies - therefore, a first principle. Variety in a panel and letter style is never to be indulged at the sacrifice of order.

To jumble disc panels, triangles and other geometric forms in one design certainly produces variety in a "spotty" effect, but unrelated and lacking Rhythm. Designing in Lettercraft is a process of selecting and arranging various unit mass in subtle proportions of primary, secondary and tertiary weights; after analyzing, the "copy" submitted, if heavy, and omitting tertiary if "copy" is light. Result is Rhythm.

Rhythm is movement and if composites are so arranged in a design as to produce coherence (holding together) and a pleasing sequence of primary, secondary and tertiary masses - in either panel or letter mass form- Rhythim is accomplished.

Inversely, if we accomplish Harmony, Balance and Rhythm, Unity is very obvious.

Unity - To establish unity in a design the designer's aim is: First, to lead the eye through all the details of the design without distressing the optic nerve ; second, to impart to the design a perfectly obvious sense of balance; and third, to arrange the composites in a pleasing coherence.

Attractions which are equal in size, shape and color balance on center or at equal distance from center. Unequal attractions balance at distances from their centers in inverse ratio to their powers of attraction.

[Larry White]

Thanks Mike!
These threads are intersting. I especially like this one. I was in the process of drawing up a new original sign. I'll have to look at it with this criteria in mind. ...as soon as I figure out what it all means. (SWM)

-LW