To see part 1: https://medium.com/@phan.design/p1-design-definitions-principles-elements-and-visual-relationships-bd885881415f
In part 1, I have mentioned the first four primary principles: Unity, Variety, Hierarchy, Dominance; and today we are going to look into Proportion and Balance.
5. Proportion
Proportions are the scale relationships within a composition.
The external dimension (the size of the canvas) determines the shape of two-dimensional design and is its most basic ratio. Squares, vertical rectangles, horizontal rectangles are all specific types of proportions, which affect certain characteristics of the design. The ratio of canvas has an important relationship with the inner design division; affecting the viewer’s eye.
- Posters, books: vertical rectangles
- CD cover: squares
- Billboard: horizontal rectangles
- Mobile: horizontal and vertical rectangles
The shape of a design format may also have an associated meaning.
- Vertical rectangle: in contemporary Western culture, it is associated with architectural metaphors: buildings, windows, doors, … In addition, the vertical rectangle is related to the shape of a person standing. Magazines, books, print ads and most posters have a rising presence thanks to the use of a vertical rectangle.
- Horizontal rectangle: has a long-term association with the landscape. In contemporary culture, film screens, computer screens, televisions all use this form.
- Square: provides a neutral, stable format, allowing designers to control the overall layout by controlling the relationship of internal elements. However, the square may be a difficult form because it does not allow us to change the aspect ratio like a rectangle. The square also has a relationship with circles and equilateral triangles.
The Golden Section
Several systems of ratios have been used in architecture, art, and design for centuries. These systems are based on ratios — a comparison of a set of sizes or quantities with a different one. Although ratios are often used to express mathematical terminology, they are also expressed as visual relationships. The golden ratio is the ratio that has been since ancient Greece. Its proportional harmony includes both artistic beauty and structural integrity. The golden ratio is usually denoted by the letter (phi) in the Greek alphabet in memory of Phidias, the sculptor who built the Parthenon.
By the Renaissance, artists and architects began to calculate and build their works so that they approximately reached golden ratios, especially golden rectangles — the ratio between long edges and short edges is the golden ratio. Similar ratios are found in the structure of plants and other life-forms.
- the spiral order of leaves grows from the branches
- the pattern of beads in the middle of sunflowers
- spiral of snail shell
- human body
Read more about the golden ratio in the human body and architecture here.
How to build a Golden Rectangle:
To build a golden rectangle does not require us to calculate anything. (thank God). I have seen a lot of golden rectangles applied in design showcases, but I don’t know how to draw it. Here I will guide you to draw a golden rectangle. You only need a pen, straight ruler and compass.
- Draw a square
- Draw 2 diagonal lines
- Draw a straight vertical line through the intersection of 2 diagonal lines (red line)
- Connect the intersection of the red line to the square (call that intersection point b) with point a.
- Take b.a line the radius of a circle, rotate the compass, I get the pink line
- From b, draw a straight horizontal line, intersect with a pink circle: we get point d. From there, I kept adding parallel lines to create a green rectangle. (adding cd, ac)
- Connect d to the first point of the square, that line intersects with a.e to create point f. Draw the line from f parallel to e.d, we get a new square. To continue, we will have the rectangle shown below.
The Parthenon Temple in Athens, built by the ancient Greeks from 447 to 438 BC, is considered by many to illustrate the application of the golden ratio in design. Renaissance artists also used golden rectangles to create a harmonious and balanced body in their artworks. Today Graphic Designer still use the golden ratio in printing and graphic products, such as logos, poster layouts, photography, etc. Read more about The Parthenon and Phi here.
The ratio above along with the scale and perspective cues can also design the depth of the image. When a design is too complex, proportion and scale allow viewers to touch visual points and to navigate images, which helps them understand where these elements are related.
The simplification of the subject’s graphics in this picture does not provide details of the space signs. However, you can estimate the size of fallen trees and jets based on the presence of the characters in front. The stacked and cropped image overlays help compress space and help balance the action taking place in the background. Panoramic rates and animated treatment turn satirical comments about the society that day into a film scale.
See more work of KEVIN T. KELLY here.
6. Balance
Balance is the visual distribution of elements in a composition.
4 types of visual balance:
- Symmetrical
- Asymmetrical
- Radial
- Crystallographic
1. Symmetrical Balance
Symmetrical balance is when elements are arranged in the same or similar way through an axis, like a landscape reflected in a static lake.
- Symmetry appears in the form of two halves of a circle, equilateral triangles with an isosceles triangle
- Balancing symmetry evokes a sense of sophistication, so wedding invitations will be a good example of symmetrical balance designs.
Symmetrical Balance is classified into 3 categories:
- Symmetrical Balance được phân thành 3 loại:
- Reflection symmetry (or bilateral symmetry): reflective symmetry is symmetrical over 1 axis, either vertical axis, or horizontal. This is the kind we will think of first when talking about symmetry
- Rotational symmetry (or radial symmetry): radial symmetry is when everything is the same revolves around a point (sunflower petals for example). This type of symmetry is often used to describe movement and speed (eg, wheels are running).
- Translational symmetry (or crystallographic symmetry): translational symmetry occurs when elements are repeated on different locations in space (the fence is an example). Repetition creates translational symmetry. It can happen in any direction or at any distance, as long as the basic orientation is the same. This symmetry type can create rhythm, movement, and speed.
2. Asymmetrical Balance
Asymmetrical balance (or Dynamic Symmetry) is the art of creating a balance between unequal numbers, sizes or types of elements.
- On one side of the composition contains a dominant element, the other side is balanced by two or more elements that have a less focal point.
- Balance asymmetry is more interesting and dynamic because it brings the feeling of modernism, movement, energy, and vitality. While there are many diverse visual effects, asymmetric balance is more difficult to achieve because of the complex relationship between elements.
- We can create asymmetrical balance by using the contrast relationship of:
- Value
- Shape
- Color
- Texture
- Size
- Placement
- Kind of image (type, photograph, illustration, etc)
3. Crystallographic Balance
Also known as Mosaic Balance or All-over Balance is the uniform, repetitive distribution of similar elements throughout the surface of the design.
- The common motif is repetitive patterns, which vary in size and color in it.
- At first glance, the designs using the Crystallographic Balance seem random and chaotic. It looks like visual noise because we can’t identify a focal point or visual hierarchy right away.
4. Radial Balance
Radial balance is the arrangement of elements emanating from a point in the middle.
- Sun rays, fireworks, ripples when we throw a stone at the water are typical examples of this balance.
- Two types of radial equilibrium are circular and concentric.
- It will be easier to maintain the focal point with radial balance because it is always the center. Whatever is directed towards the center, it will create more attraction.
Something about Symmetrical & Asymmetrical Balance:
- Symmetrical shapes often act as figures (against the ground). An object of the symmetrical form will often have a heavier visual weight than an object of similar size but in an asymmetric form.
- Although symmetrical forms bring balance, they are sometimes too stable, too balanced, boring, and unattractive. These forms can generate passive space because negative space surrounds them equally.
- Asymmetry appears more in the natural world: right-handed, left-handed; clouds have many different shapes; trees growing many branches radiate many directions …
- Since the relationship between elements in asymmetric balance is more complex than symmetrical, asymmetry is often used in design to create attention.
- The space that covers asymmetric forms is more active; patterns are also harder to guess; there will be more land for designers to show than symmetry. But in return, an asymmetrical balance is harder to implement.
- We can combine symmetry and asymmetry to create cool effects. Balancing symmetrical shapes with asymmetric ways and vice versa; or break symmetrical forms with a random palm line, attracting attention.
That's the end of Primary Principles in Design. There are of course so much more to talk about this topic but those in Part 1 & 2 are the fundamentals that you should know before digging deeper into each principle. I will come back very soon with articles about elements and visual relationships so stay tuned! If you like this story, please give me some support from your claps and comments. I truly appreciate your time. Thank you for watching.
Stay Nerdy
