NUMBER 89

2 (below left) A sample of colours arranged and varied according to hue, lightness/value and saturation/chroma. Value is arranged up and down the rows, the columns represent increasing/decreasing saturation/chroma level and each card is of a different hue.

3 (below right) A colour triangle showing gradation of a hue based on tones and tints.

may naturally be located in the valleys while bare areas may be concentrated on ridges. Once the way visual forces work is understood, it is possible to work with them. In landform, if a line or the edge of a shape such as a forest rises up into hollows following the upward forces and flows down on ridges with the downward forces, a direct and compatible relationship between the line and the underlying landform will result. There will be no tension in the design, which will be better unified.

90 VARIABLES

4 (bottom) A scene in Tuscany, Italy, where the colours are distinctive to the area and occur in a complementary relationship: the orange/red and ochre of the tiles and brickwork harmonizes with the grey/green olives and the darker green of the cypresses, evergreen oaks and other trees.

5 Atmospheric perspective: the landscape appears bluer as distance from the viewer increases. Here the Great Smoky Mountains of Tennessee and North Carolina, USA, take their name from this phenomenon.

Visual inertia Certain objects may not show visual force: they may suggest inertness. Heavy, ultra-stable, horizontal forms seem most inert. Although most forms exhibit visual force, it is possible for certain objects to appear more or less inert. This is usually a feature of solid volumes whose form and sometimes colour causes them to seem heavy, ground-hugging and extremely stable. A pyramid of shallow angle, a cube on a flat horizontal plane, a low dome