another term for asymmetrical balance is This is a topic that many people are looking for. thetruthaboutdow.org is a channel providing useful information about learning, life, digital marketing and online courses …. it will help you have an overview and solid multi-faceted knowledge . Today, thetruthaboutdow.org would like to introduce to you Asymmetrical Balance . Following along are instructions in the video below:
“I m going to talk about asymmetrical balanced terms. You should understand its symmetry. A a common form of balanced. Unlike symmetrical balance.
The objects do not reflect one another either side of the implied. Vertical axis. Yet. It has balanced visual weight.
Visual. Weight is essential to balance the shapes forms colors. Etc. Which i refer to as artistic elements.
Used in the composition make up the elements referred to as visual weight picture plane. The area in which you draw paint etc. If an artist is filling an entire picture plane an entire. I m sorry an entire piece of paycheck paper that with a drawing then that s referred to as the picture plane and painting the entire canvas stretched canvas surface is the picture plane.
Etc. Composition the relationship between the parts or elements of a work of art for example. The arrangement of balance rhythm color etc on the picture plane artistic elements are elements such as shapes forms colors that are used in a composition. Positive space is the form of a subject object in a composition and negative space.
Is the area that surrounds the positive space and shares the outside edges with that subject or object. So my experience is if there is a compositional problem with a design poorly placed visual weight is often the culprit in my opinion understanding how balance and visual weight works are one of the most critical concepts in design. I found that many of you instinctively instinctively. Understand the concept of asymmetrical balance.
But once i begin talking about up and breaking it down it can feel confusing so bear with me and pay attention to your instincts. When we re looking at work of art. So here s a review on an unconscious level. The viewer views the picture plane as having the top bottom left and right and for those of us raised in the western culture.
We look at the picture plane from my right..
It reflects how we ve learned how to read. Which is from left to right another thing that we do on an unconscious level is when whether we see the pitcher plain. We unconsciously create a vertol vertical axis which divides the picture plane down the center. It did it s our way of trying to make order out of chaos so asymmetrical balanced visual weight of the artistic elements on either side of the vertical axis establish balance.
This statement is true for both symmetrical and asymmetrical. If you haven t done so already. Please read my blog or watch. My video on symmetrical balance.
Asymmetrical balance. Often gives a casual feeling to the viewer. Whereas symmetrical balance. Gives the feeling of formal or elegant or stable informal is the unconscious feeling that a symmetrical balance gives the viewer.
But don t be deceived by that casual feeling because a certain asymmetrical balance for the designer is more complex to quickly. Achieve than other forms of balance instead of repeating the same artistic elements on either side of the vertical axis as we see in symmetrical balance. A symmetrical balance uses different artistic elements on either side of the vertical axis to create balance this is equal visual weight. I m sorry goal of symmetrical balance is at the visual weight of the artistic elements equal out from one side of the vertical axis to the other in this example.
Over here. You know here s where the imaginary vertical axis is going okay so on this side on the left side of that vertical axis. The woman is size and detail. Okay and and i will be explaining all of this in just a moment.
So just let s just kind of walk through this as an example and we will look at some more once we ve talked about the details of visual weight. But on this side of the vertical axis we have size in detail and that is balanced against the detail and the color of the food. So different items. But they end up balancing one another out both s have their own both sides have their own type of visual weight and yet each element of visual weight balances one another out so let s take a look at those five different elements elements of visual weight visual weight each artistic element on the picture plane possesses some quality of visual weight visual weight exists in symmetrical balance as well.
But it really doesn t become critical to understand until you start looking at a symmetrical balance. Okay. So let s start with size. If you have two items place two squares on either side of the picture plane both of the same size and created in the same manner.
Except one is large the larger of the two squares has more visual weight..
Because our larger item simply takes up more space in that picture plane it appears closer to the eye. So in the example down. Here. Which side is an example of size visual weight and value place.
Two stars on a picture plane both the same size created in the same manner equal in every aspect. But value the darker star has more visual weight the darker value. Absorbs more lights. We re getting into the land of physics with this one it gives the illusion of being heavier this type of heaviness also appears to be closer to the eye than items that are lighter.
So in this piece over here. What is the which is at the left of the right side of the vertical axis that seems to be showing us visual weight. Using value a visual weight. An interest or detail place.
Two hexagons to the picture plane equal in every aspect. Except. One is created with more detail i search should say the hexagram with more detail has more visual weight. Detail can be created by texture pattern.
Or it can be simply how the element was created how it was painted or drawn detailed objects naturally pique. The viewers curiosity. Inviting the viewer to come in to take a closer look. If the detail is texture texture naturally appears to it naturally appears to us unconsciously.
As well visual weight in color. Now some of you will take color theory. Some of you won t and this is where you would plug in this information as far as balance goes. There are numerous ways to create visual weight with color here s one if you place two squares on a page equal in all manners.
Except one has color and and is and the other is d saturated. The square with pure saturated color will have more visual weight. So in this example over here this stool stands. Because it s the only object in there.
That has color..
There are other things that you already know for example our eye sees warm colors before it sees cool colors warm colors such as yellow orange red. We see those colors before we see violet green blue. So there are just so many different aspects of color theory that affect balance and as i said this just happens to be one of them last. But not least is three dimensional versus two dimensional place.
Two squares on a picture plane equal in size value acceptor except one of them is two dimensional while the other is three dimensional the three dimensional square has more visual weight this type of visual weight appears to be closer to the viewer due to the addition of depth it creates the illusion of absorbing more space on the picture plane there s one last. Element design that i like to consider when i look at balance asymmetrical balance and that is negative and positive space. So let s just take a very very brief look at what negative and positive space is the positive space it s a subject or object and it has it on the picture plane. The negative space is the area surrounding that subject or object.
They usually have a shared edge an outer edge in this particular case here are these models these people are the positive space where is this board. I m sorry this fencing in the back would be the negative space there are different types of ways to use negative and positive space. But that s for a different discussion so let s go ahead and examine a piece. We ll break it down.
We ll look at the visual weight on both sides of it and talk about this piece was created in 1859. I m sorry 1895. And as the title tells you it s a funeral in the rain. Now.
This is victorian funeral and at that time they were a big deal. I mean the funeral is always a big deal. But i m saying that whole kind of a lot of ritual. Involved in that in the top corner left corner up here is a horse drawn hearse.
The funeral directors employees are in front of the hurst and they are leading the horse and and and the in the hurst immediately behind them follows the family and then colleagues and then the rest are friends at this time. That this was created the viewers would all understand what was going on in this piece. This piece also reflects an interest in japanese art during this period of time and its techniques in this area down. Here.
We have what s called a chop. It is a nod to a chinese chop and basically it s a like a seal that s used to sign documents artwork and other paperwork. So here s the piece that we re going to be breaking down the visual. Way don first of all here we have that vertical axis now through main elements of visual weight on the left side of the vertical axis are color and detail.
Let s address the color first we see warm colors before we see cool colors..
This is especially true with pure colors warn t the majority of the warm colors in this piece are located in the top left hand corner of the pitcher plain. There s also the red chopped that s down below. When it s against cool colors. So that in although a small area it it stands out fairly well for that reason the in second important element of visual weight on the left side is the horse drawn carriage.
This is detail and that s an important part of the story that s being communicated to the viewer. The audience of that day immediately knew at that course and hearst meant by adding the bright splashes of color near the horse and hearst. The artist gives the immediate importance it gives immediate importance to that part of the composition. So detail can be the manner in which something is created it can also be an important element of the story that s being told on the right side of the vertical axis the few main types of visual weight that are being used are size and value at this point the figures are getting closer to the viewer.
So they re getting larger also it s very dark. The majority of the figures are very very dark so the last thing i like to talk about not all artists use dramatic negative space. But in this particular piece that has been used dramatically and i ve gone ahead and created a red outline in there to kind of give you an idea of what that shape looks like and in this case. It also contributes to the visual weight on the left side of the vertical axis.
So it s an important part of this piece. So let s break down the visual weight on the following pieces. Identify the two major forms. A visual weight first on the left hand side.
And then on the right side of the vertical axis and as this is a video. I m going to stay just a couple seconds on each slide and leave that open for discussion. So we ve got the vertical axis coming right here. What is one or two major elements of visual weight on this side and what are one or two major elements of visual weight on the right side okay on this piece.
We have the vertical axis coming down through here. What is one or two major elements of vertical of a visual weight going on in the left side. And what are the two major elements of visual weight going on the right side okay vertical axis actually this is on a piece of paper and you can see this has been folded at some point. What is the major elements of vertical of visual weight going on in this side.
And what s going on on the right side. Okay. We ve got the vertical axis coming in about here. What are the two elements of important elements of visual weight being used on this side and what are the two important elements of visual weight going on over here and last but not least the vertical axis is here what are the firt that the two strongest elements of visual weight on the left side and what are the two strongest elements of ” .
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