BALANCE

  The visual elements placed in the pictorial field by the painter ought to be balanced. Balance gives the viewer a sense that the picture is well organized, that one part does not overwhelm the whole. Balance is achieved in a picture by creating an even distribution of visual weights around the central, vertical axis of the pictorial field. This axis of balance in the field is unseen, but it always powerfully sensed by the viewer. The visual weight a pictorial element has is determined by its size, its position relative to the vertical axis of the field and the contrast it makes with surrounding forms. The larger a form is the more visual weight it has. A form will gain in visual weight as it is moved away from the vertical axis of the field. And, as contrast increases, the visual weight of an element increases. To reduce the visual weight of a form, it can be made smaller, moved closer to the central vertical axis or reduced in contrast with its surroundings. Another obvious way to balance a form is to place another form on the other side of the vertical axis as a counterweight.

Symmetrical and asymmetrical balance
   There are two basic kinds of balance-symmetrical and asymmetrical balance. In symmetrical balance, the same forms are placed at equal distances from the vertical axis of the field. This creates a mirror image around the central axis, sometimes referred to as bilateral symmetry. This kind of balance can be quite powerful in its effect. It tends to emphasize stillness and often has a sort of formal grandeur. Because it is easily achieved, it can also be somewhat boring since it is so predictable. Asymmetrical balance is achieved by balancing different elements on either side of the vertical axis of the field. Because it is not as predictable as symmetrical balance, it is more of a felt experience than one that can be strictly measured or controlled. This makes for more variety-a wide range of possibilities-and a less pat solution to concerns of balancing forms in paintings. The way forms are balanced can also affect what is expressed. If great stillness and stability are desired, symmetrical balance might be considered. If great energy or dynamism were needed, symmetrical balance might be a poorer choice than asymmetrical balance where the inherently less predictable juggling of forms could express a transitory equilibrium more eloquently.

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