Using the elements, artists create pictorial equilibrium known as balance. The following experiences are designed to explore four types of balance.
Materials:
Drawing materials: pencil, ink, crayon, construction paper, and rubber cement.
Painting materials: tempera, diluted ink, spray paint, and sponges. Combinations of these materials, plus cut and torn paper, will be used–add others as needed (string, thread, or stretched canvas).
Method:
Position or placement plays an important role in achieving balance in a work of art. Experiment and practice arranging four different types of balance as follows:
A) Symmetrical balance.
When elements are paired equally in mirror-like repetition on either side of a vertical axis, they are balanced symmetrically. This type of balance is calculated and formal.
Using construction paper, cut out five shapes of any contour configuration, value, color, or size, and balance them symmetrically on a rectangular framed picture plane background (9" x 12") of any color. Explore the possibilities of variety and enduring interest within the limitations of the symmetrical format. (Fig. 2.6A)
B) Approximate symmetrical balance.
For livelier interest, artists introduce modifications to the equally balanced sides of a symmetrical arrangement. This may take the form of varying positions, negative spaces, scale, or other elements. As long as the feeling of the centered vertical axis is retained, this type of balance would be called approximate symmetry.
Follow the same instructions that were given in the second paragraph under Part A, but use six shapes instead of five and substitute a square frame shape (9" x 9") for the rectangle in an approximate symmetrical format (Fig. 2.6B).
C) Radial balance.
Some people feel that this is closely related to symmetry but, as the name implies, this type of balance seems to radiate from a central point. The challenge is subtlety.
Using at least four colors and as many shapes as needed, create a composition with a central point and radial structure. Try not to be too obvious (Fig. 2.6C).
D) Asymmetrical balance.
When an artist is no longer concerned with a vertical axis for achieving composition balance but instead engages an overall balance of total forces in multiple directions and tensions, he or she creates a more varied arrangement. Such balance is called asymmetrical. Because of the wide latitude and freedom from the restraints of the binding rules, asymmetry is often an artist's most popular selection.
Take a full sheet of construction paper (any color) and cut either a large circular shape (9" diameter) or a long rectangular shape (7" x 12"). Use one as the background picture plane. Cut out seven construction paper shapes of any configuration, value, color, or size. Balance the shapes asymmetrically (Fig. 2.6D).
Figures submitted by Tracy Ruhlin, Instructor, Bowling Green State University, Bowling Green, Ohio.
