The Principles Of Design
Key Vocabulary
Symmetrical balance Approximate symmetry Asymetrical balance Radial balance
I. Symmetrical Balance
a. when a design displays symmetrical balance, it is exactly the same on both sides.
b. If you drew a line through the center of the design the two sides would be mirror images.
c. Sometimes known as bilateral, two-sided, or formal balance
d. Symmetrical balance is not just a single figure with identical halves; it can also be the same shapes or forms on the opposite sides of a composition.
II. Approximate Symmetry
a. Can be used to break the monotony of two mirrored halves of a design
b. In approximate symmetry, the two sides f the design or composition are varied, but the halves are similar enough to provide a sense of balance.
III. Asymmetrical Balance
a. More complex than symmetrical balance\
b. Can contrast elements that at first glance may not seem balanced
c. Asymmetrical balance is more difficult to achieve than symmetrical, or formal balance
d. Informal balance is sensed by the viewer; there is no center line or mirrored images
IV. Radial Balance
a. Parts of a design turn around a central point
b. Generally orderly and repetitious
c. Often form a circular pattern so that they convey movement or energy
d. Radial balance suggests a feeling of turning or spinning
V. Review Questions
1. What is visual balance?
a. Visual balance is the way that the different parts of a composition relate to one another.
2. What are the four types of visual balance?
a. Symmetrical balance
b. Approximate symmetry
c. Asymmetrical balance
d. Radial balance
3. How do the two halves of a bilateral, or symmetrical, composition relate to each other?
a. The halves are identical
4. How does approximate symmetry differ from bilateral symmetry?
a. The two sides of the composition are varied
5. Why might an artist wish to create an approximately symmetrical or asymmetrical design instead of a symmetrical one?
a. Asymmetrical design is more complex and can be more exciting and interesting. It may appear unbalanced at first glance.
6. Experiments in what art style led Mondrian to focus on a new style called De Stijl? Describe the restrictions that he placed on himself as he painted in the nonrepresentational De Stijl style.
a. Mondrian’s experiments in Cubism led him to DeStijl (Dutch for “the style”)
b. De Stijl purposely eliminated emotion and a sense of humanness from the viewer’s experience
c. Mondrian restricted himself to a palette of neutrals and primary colors, to vertical and horizontal lines, and square or rectangular shapes.
