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You can have symmetrical forms in an asymmetrically balanced composition and vice versa. Radial balance occurs when elements radiate from a common center. Rays of sunlight and ripples in a pond after a stone is tossed in are examples of radial balance. Maintaining a focal point (fulcrum) is easy because it’s always the center. It evokes feelings of modernism, movement, energy and vitality. Asymmetrical balance offers more visual variety, although it can be more difficult to achieve because the relationships between elements are more complex.
What are the Different Types of Balance in Design?
The points in this image form the start and end of all the lines, including the mountains, clouds, and the moon. Symmetry in design is all about structuring the design that mirrors itself across a central plane, as much as possible. For example, if you have a grouping of a few small elements on one side, you will need to incorporate a similar group on the other side of the design too. This is especially important in rooms with high ceilings, where you need to fill the vertical space to avoid making the room feel empty and disproportionate. In a room with dark furniture, throw in some lighter-colored chairs to balance things out and prevent it from feeling too heavy. This is about how heavy or light different elements in your room appear.
Mosaic balance
In the custom illustration below, balance is created from position through the small elements arranged around the character in the center. Unbalanced and asymmetrically balanced might sound like the same thing but they are not. The intent here is to use chaos to create movement while maintaining the aesthetics.
Leveraging Size for Visual Balance
Apple’s Mac webpage gives us a stunning example of great reflectional symmetry. Reflectional symmetry can be perfect symmetry, meaning both sides of the image are identical. However, many instances—a face, for example—will feature subtle differences on each side. Balance is the key to great design, but symmetry is one of the tools you can use to get there.
Symmetrical balance occurs when equal weights are on equal sides of a composition, balanced around a fulcrum or axis in the center. Symmetrical balance evokes feelings of formality (it’s sometimes called formal balance) and elegance. A wedding invitation is a good example of a composition that you’d likely want to be symmetrically balanced. In contrast to symmetry, which can be a bit monotonous, asymmetry can be used to make a design more dynamic and lively. In the example above, Ricardo Mestre pulls off a pleasant and coherent design with asymmetrical balance. Using the same example above, a designer may wish to draw more attention to the right button than the left, without upsetting the balance.
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Enhance your marketing strategy with professional, unlimited graphic design from Kimp. While it has such great appeal, symmetrical balance might look too plain without strong focal points in the design. Subtle changes in design, like changing the color of one or more elements can drastically alter the balance and create a focal point when required. Simply playing with visual weight and visual direction helps you explore the different types of balance in design. It's when every design element and principle comes together as one, creating harmonious flow and tranquility. This beautiful painting feels pleasant to the viewer's eye yet has so much going on.
Understanding the Importance of Balance in Graphic Design
A balanced work, in which the visual weight is distributed evenly across the composition, seems stable, makes the viewer feel comfortable, and is pleasing to the eye. A work that is unbalanced appears unstable, creates tension, and makes the viewer uneasy. Sometimes, an artist deliberately creates a work that is unbalanced. When it comes to composition, artists can achieve balance by making sure that each element is evenly distributed throughout the piece.
How to Achieve Balance in Design: A Designer’s Perspective
Just as in the physical world, visual balance is a good thing. An unbalanced composition can feel uncomfortable for the viewer. Look back at the second of the three seesaw images — it looks wrong because we can tell that the seesaw shouldn’t be in balance. When a design is unbalanced, the individual elements dominate the whole and the composition becomes less than the sum of its parts. In some projects, unbalanced might be right for the message you’re trying to communicate, but generally you want balanced compositions.
Shape
Balance in art is one of the basic principles of design, along with contrast, movement, rhythm, emphasis, pattern, unity, and variety. Contrast is a critical principle of design that enhances the distinctiveness of elements within a composition. It involves setting opposing elements against each other to emphasize differences and create visual interest. Contrast can be achieved through variations in color, size, shape, and texture.
There was certainly a random and chaotic feel with the letters strewn about, but the balance in the composition works. It’s a good example of how radial balance doesn’t necessarily require the use of circles. The Shiny Demos heading in the upper left and the Opera logo in the lower right counterbalance each other and also appear to radiate from the same center as the text links. Opera’s Shiny Demos home page isn’t circular, but the text links all seem to emanate from a common or near common center. It’s easy to imagine the whole shape spinning around one of the squares in the middle or maybe one of the corners where four squares meet. The smaller circle in the upper right adds a little translation symmetry and some asymmetry, increasing visual interest in the composition.
Asymmetry, on the other hand, refers to anything that isn’t symmetrical. Understanding symmetry vs. asymmetry isn’t difficult, but getting it just right can be tricky at first. That’s why we’re going to go through a few examples to ensure everything is crystal clear. And this isn’t limited to designs with large dimensions vs. small ones.
This is translational symmetry—when visual elements repeat across a location in space. This repetition can happen for any length or in any direction. The position of elements on the page determines how balanced the page appears. One big challenge to achieving visual balance in web design is the fold. You may design a layout that is perfectly balanced in the initial view, but when the reader scrolls the page, it can come out of balance. To create harmonious colour combinations in an artwork, balance both muted tones and saturated tones.
Everything works together and fits together in a seamless whole. The individual parts contribute to their sum but don’t try to become the sum. Without balance we create visual tension that can easily have a negative impact on how our designs are perceived by others. Visual weight can be altered by the size, color, contrast and/or the density of an element.
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In colour theory, an important distinction exists between colours that mix subtractively and colours that mix additively. We can form shapes using lines (as above), or by using differences in colour, texture or value. If functional and aesthetic elements don’t add to the user experience, forget them.
Jackson Pollock is one of the most popular abstract expressionists who created masterpieces with mosaic balance. His paintings are great examples of the phrase “calm in chaos”. Knowing each one of these and the purposes they serve is the best way to use each to your advantage.
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