t h e by Chris A.

Paschke, CPF, GCF

ESSENCE o f d e s i g n
P A R T
V I I I :
RHYTHM

he other day, I heard a radio ad for a home aesthetic and successful design. Together, the elements

T interiors store that 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
and factors form the principles of design, and when put
together successfully, they create unity.
Although rhythm falls into the category of factors, it
artist and framer, I felt the hair on the back of my neck sometimes fits better into the elements category. It is
prickle. We have been taught for decades to meld the easily identifiable, countable, and may or may not be
framing with the artwork so they work together to best actively utilized as a visual tool in a framing design.
enhance the art and keep it as the focal point.
I sincerely hope that in the world of interior design By Definition
and architecture, the same holds true. Why else would Rhythm, repetition, and dominance act as transitional
we quiz a customer as to the style and colors of a given agents to create order with forces which are otherwise in
room prior to framing their art? I realize this ad was opposition. In the case of framing, these could be mats
attempting to promote the store’s fantastic tile selection, and mouldings—the portions of the framing not neces-
but in any room it should all work together and feel sarily considered by the artist or collector. They could
unified. And yes, each item in the room is still able to also be the furniture and wallpaper in the room where
hold its own. Rhythm is the subject of this month’s the art will hang.
design column and it is one design factor that strongly Rhythm is the underlying principle of the universe,
integrates and helps pull all others together. like a heartbeat, breathing, or the cycle of the days into
seasons. It derives from a Greek term meaning “to flow”
Elements and defines as a con-
and Factors tinuance or flow
The elements of line, which is accom-
color, texture, shape, plished by repetition
intensity, and space or regulated visual
are all the ingredi- units. It is the use of
ents or building measured accents,
blocks with which patterns, colors,
the artist or designer space, etc. to create a
works. Meanwhile, whole. If portions of
the factors of the whole are visually
rhythm, emphasis, reproduced in a
balance, and propor- rhythmic manner, the
tion are the mortar design will often
that hold them appear unified and
Photo 1: Metered repetition is illustrated in this moulding design of short lines perpendi-
together, or the cular the length of the moulding. Rhythm is also shown by repeating the same moulding
well thought out. By
directions for assem- pattern in varying weights, widths, and colors, known as progressive repetition. (Frame reintroducing similar
courtesy of Victor Moulding Co.)
bling them into an patterns within dif-
40 PFM _ April 2001
ferent areas of a frame, it creates a unified feeling ments within the design of a particular moulding, estab-
through rhythm, called repetition. lishes its motif. The motif is only one accent in an
If the repetition of colors, textures, and shapes helps entire system of accents. A “beaded” fillet is an example
to establish unity, then modifying or isolating those of a familiar motif, for it establishes a very regulated
same elements might create more variety through con- visual beat. A small, inner, circular flower and leaf image
trast. For example, the repetition of a ticking clock fades may be repeated at spaced intervals along a matching
into the background, while a frequently heard radio ad moulding to establish a particular motif. Motifs are not
can annoy and repel rather than attract. Thus rhythm one single part; they are always part of a larger whole.
can produce contrast, variety, and/or unity. Pattern uses line, shape, color, and texture to guide
Rhythm sur- and direct underlying
rounds us in most design structure. It
everything we see, establishes a harmo-
hear, and do. There nious relationship
are three basic, natu- between individual
ral types of rhythm. parts which become
Repetition is found similar or repetitive
in a heartbeat, alter- in character. Rhythm,
nation with the ebb repetition, alterna-
and flow of the tides, tion, and progression
and progression as all are systems in
the gentle growth of developing overall
a tree trunk into patterns. The mould-
branches. ing reflects the specif-
ic pattern established
Repetition in the actual framed
Photo 2: An example of alternating rhythm has been established between the flowers and
The metric, mathe- the double line design between them. This creates greater visual interest through varia- artwork, which leads
matical beat of repe- tion and contrast, while unity is achieved by the repetition of the same pattern in the art the eye from one
reflected in the moulding. (Framing design courtesy of Arquati Moulding.)
tition uses the same accent to another.
visual element a Repetition and
number of times within the rhythm are inseparable.
same composition. It is a recur- Rhythm is the direct result of
rence, measure (such as meter in repetition, while repetition is a
poetry), tempo or beat exempli- method used to emphasize
fied by walking, dancing, or visual units in a marked pat-
hammering. tern. It is, by far, the easiest
The most basic, repetitive way to achieve flow and unity.
moulding design will show a By its very insistence, repeti-
very distinct metered carving, tion demands visual attention
almost like the ticking of a through focal point emphasis
clock (see Photo 1). Rhythm is (see upcoming “Part Eleven:
also shown in this photo by the Emphasis,” PFM, October
repetitive use of the same 2001). No matter how briefly,
moulding pattern in weights, the repetition allows the eye
widths, and colors as a progres- Photo 3: Rhythmic progression is seen here as the moon in the to pause or hesitate on a spe-
artwork is echoed by increasingly larger circles within the
sive repetition between the design. Although the v-grooved square creates contrast, as well cific detail for further exami-
outer moulding and inner fillet. as a transition from circle to square, it reflects the tension nation. Use of repetition does
between the moon and mat and visual concentration remains on
Use of the same visual ele- the image. (Photo is courtesy Ray Dwyer, CPF.) not always mean exact dupli-

42 PFM _ April 2001

cation, but rather a close similarity. Slight variations will Studio, in Washington, Connecticut (see Photo 3).
add interest to a pattern which could become visually Line, color, space, and shape are supported by a good
boring quite easily. understanding of rhythm. The graduated circles visually
draw the eye down into the smallest inner circle, the
Alternation moon, within the print. The v-groove square surround-
The use of spatial repetition can create an alternating ing the circles helps with the transition from inner,
rhythm. It establishes a recognizable repetition but with round window to outer, square frame.
a bit of a syncopated beat; in the case of framing design,
one with a visual accent instead of auditory one. If a Dominance
flower design is repeated with no additional lines Dynamic use of rhythm and repetition are frequently
between it, it would be simple repetition—one in which found in successful framing designs. Each portion of the
the same image is duplicated over and over. The stylized design (i.e.: frame, mats, colors) must hold its proper
flower seen in Photo portion of visual
2 repeats the same dominance, emphasis,
flower motif, but or attention. To get
because of the paral- the viewer’s attention,
lel line dividers a featured portion
between the flowers, needs to be in con-
it becomes an exam- trast with its sur-
ple of a slightly var- rounding area. This
ied or alternating again will be exam-
repetition. ined more closely in a
future issue in “Part
Progression Eleven: Emphasis.”
A sequential change The diamond-
during repetition, as shaped pieces that
with the size varia- have been added
tion of the tree Photo 4: Line, color, texture, and intensity are illustrated here along with simple rhythm. along the left side of
trunk into the The diamond-shaped pieces along the left side of the mat repeat the pattern from within the mat in Photo 4
the art itself. They also integrate the colors and overlapping pattern of the Indian design.
branches, establishes repeat the pattern
progression of a seen within the art.
rhythm. Sizes can They also integrate
grow, shapes can the colors and over-
evolve from round to lapping pattern of the
octagonal, colors can Indian design. This
gradually fade from example utilizes an
gray to green. These attention-getting con-
are all uses of a pro- trast without over-
gressive repetition in whelming the rest of
framing. the design. Lack of
An excellent rhythmic order, or a
example of progres- weakness in establish-
sive repetition is seen ing dominance, can
in the award-winning leave the viewer
framing design by floundering for
Ray Dwyer, CPF, Photo 5: The patchwork pattern of heat-set laminating called contempo panel designing meaning or focus in
extends the checkerboard floor onto the mat illustrating yet another use of simple rhythm.
from West Wind (Artwork detail courtesy of Hunt Corporation.) a design.

44 PFM _ April 2001

Types of Rhythm
Too much repetition is also
visually fatiguing and can be
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 simultane-
ously or a complex variation
with a particular accent. This is
the most
common type of rhythm found
in framing design.
In Photo 5, simple rhythm
is created by using vinyl heat-set
laminating films in a process
known as “contempo panel
designing” to continue the
patchwork pattern in the floor
of the poster over onto the mat-
board. This example uses simple
rhythm to repeat only one por-
tion of a motif from within the
artwork for continuity and
emphasis. It is a strong design
statement 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 elabo-
rately created mat work in
Photo 6. This design by Arquati
Moulding successfully uses
color, texture, intensity, and
rhythm in a dynamic presenta-
tion. It accomplishes a domi-
nance of one basic visual idea
by creating a feeling of an over-
all harmonious relationship.
46 PFM _ April 2001
Photo 6: This is an excellent example of compos-
ite rhythm which replicates not only the motif but
the colors, texture, and shapes from within the art
onto the matboards. (Framed artwork courtesy of
Arquati Moulding.)
Photo 7: The top white matboard has been thinly v-
grooved at the corners with diagonal, horizontal,
and vertical geometric patterns from within the con-
temporary 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.
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 cre-
ation and in the experience of the
artist during that process. To state it
concisely, it cannot be added after the
fact like a dab of blue paint. In fram-
ing, rhythm should become a princi-
ple that naturally finds its way into all
successful designs. It aids in establish-
ing balance, emphasis, and the unity
any design should be striving for.
We have seen rhythm may be
established as a rhythmical progres-
sion 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 6; or may be as simple as
repeating shapes and patterns in dif-
ferent ways from within the art itself
as in Photos 5 and 7.
The elements of any design are
the materials of the designer; the fac-
tors 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 and that texture can be the
result of highlights and shadows of
line and color, all the principles
should work together to create unity.
If they are isolated, 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.
June is our Mat Design Issue and
together we will explore the depths of
“Part Nine: Proportion.” In the mean-
time, march to the beat of your own
drummer, but maintain your rhythm
in the process. ■