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Articles
by Chris A. Paschke, CPF GCF CMG
"The Essence of
Design: Rhythm"
April 2001
I heard a home
interiors store radio ad the other day whose promo stated "select one of
our tile designs for your new interior so that any other artwork in the room
will never be noticed." As an artist and framer that comment really raised
the hair on the back of my neck. We have been taught for decades to meld the
framing with the artwork so they work together to best enhance the art, while
the art always remained the focal point.
I sincerely hope
that in the world of interior designs and architecture the same holds true. Why
else would we quiz a customer as to the style and colors of a given room prior
to framing their art? I realize this ad was attempting to promote the store's
fantastic tile selection, but any room should all work together, harmonize,
feel unified, yes, while each item within the room maintains the right to its
own attention. Rhythm is the subject of this month's design column and it is
one design factor that strongly integrates and helps pull all others together.
ELEMENTS AND FACTORS
The elements of line, color, texture, shape, intensity, and space are all
the ingredients or building blocks with which the artist or designer works. The
factors of rhythm, emphasis, balance, and proportion are the mortar that hold
them together or the directions for assembling them into an aesthetic and
successful design. Together the elements and factors form the principles of design, and when working
together successfully they will create unity.
Though rhythm falls into the category of factors, it sometimes fits
better into the elements category. It is easily identifiable, countable and may
or may not be actively utilized as a visual tool in a framing design.
BY
DEFINITION
Rhythm,
repetition, and dominance act as transitional agents for creating order out of
forces which are otherwise in opposition. In the case of framing these could be
mats and mouldings, the portions of the framing not necessarily considered by
the artist or collector. They could also be the rest of the furniture and
wallpaper within a room where the art is to hang.
Rhythm is the underlying principle of the universe, like
a heartbeat, breathing or the cycle of the days into seasons. It derives from a
Greek term meaning "to flow" and defines as a continuance or flow
which is accomplished by repetition or regulated visual units. It is the use of
measured accents, patterns, colors, space etc. to create a whole. If portions
of the whole are visually reproduced in a rhythmic manner the design will often
appear together, well thought out, and
unified.
Reintroducing similar patterns within different areas of a frame creates
a unified feeling through rhythm, called repetition.
If the repetition of colors, textures and shapes
helps establish unity, then modifying or isolating those same elements might
create more variety through contrast. The repetition of a ticking clock fades
into the background, while a frequently heard radio ad can annoy and repel
rather than attract. Thus rhythm can produce contrast, variety and/or unity.
Rhythm surrounds us in most everything we do, hear
and see. There are three basic natural types of rhythm. Repetition is found in a heartbeat, alternation with the ebb and flow of the tides, and progression as the gentle growth of a
tree trunk into branches.
REPETITION
The metric, mathematical beat of repetition uses the same visual element
a number of times within the same composition. It is a recurrence, measure
(such as meter), tempo or beat exemplified by walking, dancing or
hammering.
The most basic repetitive moulding design will show a very distinct
metered carving, almost like the ticking of a clock (photo 1). Rhythm is also
shown in this photo by the repetitive use of the same moulding pattern in
weights, widths and colors as a progressive repetition between the outer
moulding and inner fillet.
Use of the same visual elements within the design of a particular
moulding, establishes its motif. The
motif is only one accent in an entire system of accents. A "beaded"
fillet is an example of a familiar motif, for it establishes a very regulated visual
beat. A small inner circular flower and leaf image may be repeated at spaced
intervals along a matching moulding to establish a particular motif. Motifs are
not one single part, they are always part of a larger whole.
Pattern uses line, shape, color, and texture to guide and direct underlying
design structure. It establishes a
harmonious relationship between individual parts which become similar or
repetitive in character. Rhythm,
repetition, alternation and progression all are systems in developing overall
patterns. The moulding reflects the
specific pattern established in the actually framed artwork, which leads the
eye from one accent to another.
Repetition and rhythm are inseparable. Rhythm is the direct result of
repetition, while repetition is a method used to emphasize visual units in a
marked pattern. It is by far the easiest way to achieve flow and unity. By its
very insistence, repetition demands visual attention through focal point emphasis, and no matter how briefly,
allows the eye to pause or hesitate an a specific detail for further
examination. Use of repetition does not always mean exact duplication, but
rather a close similarity. Slight variations will add interest to a pattern
which could quite easily become visually boring.
ALTERNATION
The use of spatial repetition can create an alternating rhythm. It
establishes a recognizable repetition but with a bit of a syncopated beat, in
the case of framing design, one with a visual accent instead of beated similarity. If a flower design is repeated with no
additional lines between it, it would be simple repetition, one in which the
same image is duplicated over and over. The stylized flower in photo 2 repeats
the same flower motif, but because of the parallel line dividers between the
flowers it becomes an example of a slightly varied or alternating repetition.
PROGRESSION
A sequential change during repetition as with the size variation of the
tree trunk into the branches establishes progression of a rhythm. Sizes can
grow, shapes can evolve from round to octagonal, colors can gradually fade from
gray to green. These are all framing
uses of a progressive repetition.
An excellent example of progressive repetition is seen in the award
winning framing design by Ray Dwyer, CPF from West Wind Studio, Washington, CT
(photo3). Line, color, space, and shape are supported by a good understanding
of rhythm. The graduated circles
visually draw the eye down into the smallest inner circle, the moon, within the
print. The v-groove square surrounding the circles helps with the transition
from inner round window to outer square frame.
DOMINANCE
Dynamic use of rhythm and repetition are frequently found in successful
framing designs. Each portion of the design (frame, mats, colors...) must hold
its proper portion of visual dominance, emphasis or attention. To get the
viewers attention a featured portion needs to be in contrast with its
surrounding area. This again will be examined more closely in Part Eleven:
Emphasis.
The added diamond shaped pieces along the left side of the mat in photo 4
repeat the pattern from within the art image itself. They also integrate the colors and
overlapping pattern of the Indian design. This example utilizes an attention
getting contrast but does not overwhelm the rest of the design. Lack of
rhythmic order or a weakness in establishing dominance can leave the viewer
floundering for meaning or focus in a design.
TYPES OF RHYTHM
Too much repetition is also visually fatiguing and chaotic. Rhythm may be simple or complex in nature. Simple rhythm involves repeating only
one measure within a frame. That does not mean it cannot remain a dominant
visual element. Composite rhythm uses two or more recurring measures which exist
simultaneously or a complex variation with a particular accent. This is the
most common type of rhythm found in framing design.
Inlaid moulding emulates the patchwork concept behind the little heart
print in photo 5, as a use of simple rhythm.
Vinyl heat-set laminating films were used in a process known as
'contempo panel designing' to continue the patchwork pattern in the floor of
the poster over onto the mat board in photo 6.
Both of these examples use simple rhythm to repeat only one portion of a
motif from within the artwork for continuity and emphasis. Both are strong
design statements using repetition with a great deal of visual focus while only
being an example of simple rhythm.
Composite rhythm is shown in the more complex imaging of the texture,
color and arched motif of the columns replicated in the elaborately created mat
work in photo 8. This design by Arquati Moulding successfully uses color,
texture, intensity and rhythm in a dynamic presentation. It accomplishes a dominance of one basic
visual idea, by creating a feeling of an overall harmonious relationship.
RHYTHM IS MORE THAN MUSIC
Within art, rhythm cannot be added to an artistic or visual composition,
it must be implicit in the process of creation and in the experience of the
artist during that process. In a sentence, it cannot be added after the
fact...like a dab of blue paint. In
framing, rhythm should become a principle that naturally finds its way into all
successful designs. It aids in
establishing balance, emphasis and the unity any design should be striving
for.
We have seen rhythm may be established as a rhythmical progression of
movement and transition as in photo 3; or it can elaborately draw the eye into
the image by composite rhythms, color, line and texture as in photo 7; or may
be as simple as repeating shapes and patterns in different ways from within the
art itself as in photos 5, 6, and 8.
The elements of any design are the
materials of the designer; the factors establish the methods by which these
materials are set into motion or are used.
Just as it is true that shape and space flow in and out of each other;
that texture can be the result of highlights and shadows of line and color; all
the principles should work together for a unified whole. If they are isolated then one may dominate
the other and the design may be lost. Rhythm is the governing factor because of
its connection to our heartbeats, breathing, the days, the seasons; the entire
life force of our universe.
END
Photos from this
article may not still be available.
For more articles
on design see the Design Series under Articles by Subject.
Additional
information on mounting basics is found in The Mounting and Laminating
Handbook, Second Edition, 2002, and The Mounting And
Laminating Handbook, Third Edition, 2008. Creative Mounting,
Wrapping, And Laminating, 2000 will teach you everything you need
to know about getting the most from your dry mount equipment and materials as
an innovative frame designer. All books are available from Designs Ink
Publishing through this website.
For live
consultations with Chris Paschke, CPF GCF call Designs Ink, 661.821.2188. A
flat fee of $25 will be charged for each new technical problem. Unlimited calls
or emails are allowed for each established mounting problem.
Chris A Paschke,
CPF GCF
Designs Ink
Designs Ink
Publishing
785 Tucker Road,
Suite G-183
Tehachapi,
CA 93561
661.821.2188
info@designsinkart.com
PHOTO
1
Metered repetition is illustrated in this
moulding design of short lines perpendicular the length of the moulding. Rhythm
is also shown by repeating the same moulding pattern in varying weights, widths
and colors, known as progressive repetition. Frame courtesy of Victor Moulding
Co.
PHOTO
2
An example of alternating rhythm has been
established between the flowers and the double line design between them. This creates greater visual interest through
variation and contrast, while unity is achieved by the repetition of the same
pattern in the art reflected in the moulding. Framing design courtesy of
Arquati Moulding.
PHOTO
3
Rhythmic progression is seen here as the
moon in the artwork is echoed by increasingly larger circles within the
design. Although the v-grooved square
creates contrast, as well as a transition from circle to square, it reflects
the tension between the moon and mat and visual concentration remains on the image.
Photo courtesy Ray Dwyer.
PHOTO
4
Line, color, texture, and intensity are illustrated here along with
simple rhythm. The diamond shaped pieces along the left side of the mat repeat
the pattern from within the art itself. They also integrate the colors and
overlapping pattern of the Indian design.
PHOTO
5
The Roma moulding used to frame this small
patchwork heart card reflects use of simple rhythm and repetition. Framed
sample courtesy of FrameTek.
PHOTO
6
The patchwork
pattern of heat-set laminating called contempo
panel designing extends the checkerboard floor onto the mat illustrating
yet another use of simple rhythm. Artwork detail courtesy of Hunt Corporation.
PHOTO 7
This is an
excellent example of composite rhythm which replicates not only the motif but
the colors, texture, and shapes from within the art onto the mat boards. Framed
artwork courtesy of Arquati Moulding.
PHOTO 8
The top white mat
board has been thinly v-grooved at the corners with diagonal, horizontal and
vertical geometric patterns from within the contemporary abstract image. This
was done in the attempt to replicate through simple rhythm the inner shapes in
order to tie the outer frame to the inner artwork.