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Informal Balance
There is also informal or occult balance, called asymmetri
cal. This consists in balancing dissimilar elements on each
side of the axis. For example, a large roundhead tree, a
maple, rather distant from the axis line can be balanced by
an emphatic group of evergreens, cedars or arbor-vitae, quite
close to the axis line. Or in an herbaceous planting a large
mass of soft pink iris on one side may be offset by a single
pink peony on the other. Emphatic shapes and coarse textures
create an illusion of weight sufficient to balance taller feath
ery masses. (Plate 10.)
This type of balance, suitable to the informal or naturalistic
situation, requires for success a clear perception of scale and
of color. Unfortunately, more often than not it is a failure.
When it does come off, it is probably more interesting than
the simple formal type. Do not be tempted to use occult bal
ance in a formal garden with the hope that it will lessen the
rigidity of a scheme. Occult balance is secured with dissimi
lar material, but space relationships, colors, textures, and
form are important to its success. This type of balance is de
scribed here not to challenge or to tempt you, but rather as
a warning.
Balance must also be considered for the enclosing and
background plantings. Here, dealing with more permanent
material, you have only to secure balance once and you have
it for the rest of the year. With herbaceous material, espe
cially when you depend on bloom for balance, remember that
stability and equilibrium must be present at all times. For
example, it is not sufficient that the June picture be properly
balanced and no consideration be given to July, August, or
September pictures. Not even a wealth of color can obscure
the fact that a principle of good composition has been neg
lected.
Balance must also be considered in the placing of garden
furnishings. Benches, urns, vases, and the like are often em
ployed as terminals for axes. Be certain that each fulfills a
purpose and does not spoil an effect.
Accent
Even though your garden may be segregated, unified, and
balanced, it will be uninteresting unless its important aspects
are accented. Broad simple effects are desirable but they can
be flat and dull. The selection and placement of accents for
emphasis is important.
There are several easy ways to avoid monotony. An impor
tant location may be accented by a change of line. Consider
how dramatic is the silhouette of a tall, emphatic cedar placed
so as to rise above lower, more rounded shrub masses, or how
impressive a group of three conifers can be when set as the
terminal feature of a long axis, or how attention is drawn to
the spires of garden lilies, foxgloves, and thalictrum rising
among masses of phlox in the border. The eye inevitably
picks up these emphatic forms that change the monotonous
undulating line and is pleased by the more interesting com
position that results. (Plate lla.)
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