The visual contrapuntal field is composed of two superimposed layers. I achieved consonance when the two layers interacted to produce one of the 17 plane symmetry groups. I resolved any dissonance (asymmetrical changes) by moving to consonance.

Form harmony: The visual field starts with a unison of the two layers at symmetry group p4 (step 2 starting from the left) that transitions to a dissonance (steps 6, 7). This dissonance resolves in consonance at symmetry p4 (step 10), which transitions to symmetry P2 (steps 12 – 14) before it ends in consonance at symmetry pgg (steps 15-17), which by turn transitions back to p2 before it ends in unison at p4 (notice that p2 acts as a bridge between p4 and pgg in wallpaper group relations).

Color harmony: I adopted the color definitions and harmony system developed by Wilhelm Ostwald. I separated the chromatic (color) and achromatic (black and white) dimensions of color into the two superimposed layers. The final optical effect resulted from combining both layers with 50 % opacity.

Chromatic harmony: I started the composition with contrasting Red 7/Blue 13 (separated by six intervals on the Ostwlad color wheel) and gradually shifted towards a combination of yellow 1/ Red 7 before reversing to Red 7/Blue 13. I maintained six color intervals constantly in any given step.   

Achromatic harmony: I started the composition with a dark five-interval combination g/p that shifted to a lighter one-interval a/c before it shifted back to g/p.