Telf:Harmony in art and design is the visually satisfying effect of the combination of similar related elements. For example: nearby colors on the color wheel, similar shapes, etc. The symmetrical balance is visually stable and is characterized by a precise compositional design – or almost – on one (or both) side of the horizontal or vertical axis of the image plane. The symmetrical compositions are usually dominated by a central anchor element. There are many examples of symmetry in the natural world that reflect an aesthetic dimension. The lunar jellyfish fits this description; A ghostly flash on a black background, but an absolute symmetry in its design. Asymmetry uses compositional elements that are moved from each other, creating a visually unstable balance. The asymmetrical visual balance is the most dynamic because it creates a more complex construction. A graphic poster from the 1930s shows how offset positioning and strong contrasts can increase the visual effect of the entire composition. The harmony of colours, often referred to as “aesthetic measurement”,[11] examines which colour combinations are harmonious and pleasing to the eye and which colour combinations are not. [9] Color harmony is a major concern for designers, as colours always exist in the presence of other colors in form or space. [11] According to Alex White, author of The Elements of Graphic Design, the realization of the visual unit is a primary objective of graphic design.
If all elements match, a design is considered unified. No part is considered more important than the design. A good balance between unity and diversity is necessary to avoid a chaotic or inanimate design. [10] However, variety is useless for diversity. Diversity should amplify the other elements of a design and be used next to them to create a more interesting and aesthetically appealing result that enhances the user experience. Spiritual paintings from other cultures use the same balance for similar reasons. Sano di Pietros “Madonna of Humility”, painted around 1440, is centrally positioned, maintains the Christmas child and forms a triangular design, its head and flowing dress form a broad base at the bottom of the image. Their halos are visually enhanced with the heads of the angels and the arc of the frame. You could say that this painting and the Tibetan scrolling board are generally symmetrical, but note how the second Madonna and the image of the child are almost identical to the right and left half of the painting. To do this, the Christmas child is placed in the middle of Mary`s knees and her two hands are raised in one.
In this reading, you will learn to recognize and distinguish how design principles are used to visually organize a work of art.