Lets walk-through the difference between symmetrical and asymmetrical balance in Art.
Everything present in this universe has a sense of balance. This balance can be in the form of time duration, for example, the period of light and darkness is divided not in terms of time but rather creating a balance between the required length of light and shade in the lives of human beings.
In the purest form, we can say that the division of things in equivalent proportions may be termed as balance.
Balance in art
We can say that stability is one of the necessities while composing a piece of art along with harmony, quantity, accentuation, and tempo. Balance in art indicates the utilization of masterful components, for example, line, surface, shading, and structure in the making of a piece of art that renders visual dependability.
In fine arts and schemes, balance does not infer a total visual or even physical harmony of structures around the focal point of creation, but, instead, it means the planning of structures that brings out the feeling of uniformity among the viewers. One can say that through a compromise of contradicting powers, balance and harmony are achieved in the making of a piece of art.
Stability and equilibrium add up to the visual appeal of anything that is related to arts and crafts and may be considered as one of the most fundamental building blocks.
Three forms of balance are observed in the field of art
1. Symmetrical balance
2. Asymmetrical balance
To find out more about what they are and what they refer to. Let us have a detailed look at them.
What is symmetry? In the most common terminology, it can be called “evenness.” Whenever we see something that is equally proportionate, we call it symmetrical. Similarly, in art, if all the elements are divided into two equal parts, both ends would hold the same value. Even similarity is utilized to pass on a feeling of the convention, appeal, soundness, and everlasting quality. In symmetrically balanced pieces of art, there may be times when both sides are identical to each other. This form is most commonly preferred in institutional or religious paintings where uniformity and harmony are core values to exhibit via visuals and narratives.
Balance around a focal point is called a respective balance. The fulcrum might be vertical or flat. It can be in the form of colors, imagery lines, or anything as far as it creates a sense of symmetry and coordination.
Unlike symmetrical art, asymmetrical art refers to everything opposite to the norms of coordination. This form of art has different visuals on both sides of the project. However, to create an asymmetrical balance, the creator has to weigh two different things equally on opposing sides. To narrate this in the most basic language, one can say that asymmetrical balance is the portrayal of two completely opposing elements in a single piece of art without making them look awkward or out of context. It is not as formal as compared to symmetrical balancing. However, it requires a lot more concentration and careful planning.
“The Boating Party” by Marry Cassat is one of the best examples of such type of balancing in an art form.
This type of balancing is most commonly seen in pieces of art where nature is portrayed. The most common example of radial symmetry or centrifugal alliance is when a stone is dropped in water and ripples form around the center point.
Whenever there is a representation in the art that is mainly dependent on a circle with its design outspreading from the very center of that circle, it is considered to fall among the category of a radially balanced form of art. Visual balance in this form of art is achieved by creating a stable effect of circles. Parts of an object or its effect, image, or shadow are projected in a circular movement while moving away from it.
In any form of art, the viewpoint has a significant impact. Especially in metaphorical work of art, precise utilization of perspective incredibly adds to the feeling of balance.
As observed from the beginning of time, perception in visual expressions changed fundamentally. The old Egyptians utilized the respective-perspective – the framework wherein every component is demonstrated with respect to its significance and qualities. It was not until the early Renaissance when balancing through geometrical aspects was probed upon in the field of art.