Balance & its types
Jacci defines these balance types (similar to Joshua's):
- symmetrical
- asymmetrical
- radial
Symmetry (Symmetrical Balance)
To create a symmetry, the designer can use a mirror (exact) image, or a more general similarity of form, feeling, or identical placement.
Some effects of using symmetry:
- formality
- order
- tranquility
- familiarity
- elegance
- serious contemplation
Symmetry can also lead to a centered focal point. Symmetrical layouts create a mid-point or dividing line between identical elements. This can direct attention toward that middle, dividing area.
Asymmetry (Asymmetrical Balance)
Jacci covers asymmetry in her discussion of balance. Compared to symmetric works, visual asymmetry causes more instability, tension, entropy, etc.
Jacci's lists off a number of ways to create asymmetry:
- matching disparate elements
- matching an odd or unequal number of elements
- uneven distribution of forms on the page (uneven perceived weight)
Using asymmetry, visual design can communicate emotion or information. Just a few possibilities:
- tension
- anger
- humor
- change
- motion
- freedom
By mixing balance and imbalance, the designer can communicate various types and degrees emotional content and information.
Radial (Radial Balance)
Jacci limits radial balance to designs which position elements on a circular or swirling path.
Radial designs can be complex because of their circular structure, and they don't necessarily fit well on a square-bounded page. The conflict between these two (circles and squares, or swirls and squares) necessarily causes imbalance in radial designs. This can be a useful device for communicating rhythm, motion, and tension.
A radial design naturally directs the viewer in one of two ways. While lines direct attention to their endpoints, circles and swirls can encourage the viewer to attend to their centers. Many circular icons and symbols work this way. Swirls and circles can also deflect the viewer toward the outside of the design, however.
