“Balance is an important aspect of visual communication. There are two kinds of balance: symmetrical and asymmetrical. Symmetrical balance centers on a vertical axis, asymmetrical balance does not look the same on both sides, but the dissimilar halves are in a state of equal tension, or “balanced asymmetry”. Symmetry is balance through similarity, asymmetry is balance through contrast. Space is a shape.”
White, Alex / 2013
Equilíbrio_ Página (títulos, ilustrações, texto, brancos, cores, etc.) no seu conjunto; o equilíbrio pode ser: simétrico (com distribuição de grupos de brancos e manchas em partes iguais nos dois lados da página ou impressão), assimétrico (quando uma das partes está mais sobrecarregada do que a outra, embora mantendo a harmonia) e livre, quando a disposição das manchas e brancos não se sujeita às regras do equilíbrio, mas toma em linha de conta as normas tipográficas de distribuição do texto e brancos.
Assimetria_Falta de simetria; tipograficamente é o arranjo de linhas e blocos de composição fora do eixo ou centro da página que caracteriza grande número de arranjos gráficos modernos exigindo, porém, um perfeito equilíbrio entre as diversas partes do impresso.
Faria, Maria Isabel; Maria da Graça Pericão / 2008
“The symmetrical appearance of a human being is reflected in the symmetrical shape of a book and even in a book title, where the lines have been centered. Similarly, the symmetrical architecture of the Renaissance is a response to the symmetrical appearance of man. In itself, a symmetrical arrangement is neither the mark of a particular style nor the expression of society, but rather a shape that grew almost naturally, a form that has been around at all times and in the most diverse societies. It is a visible effort toward order, toward a center; that is all it attests to. […] Even a fluctuation between apparent symmetry and dynamic order can at times be gratifying, in a magazine, for instance; but to achieve this, a large measure of masterful certainty is required.”
Tschichold, Jan / 1991
“In design, balance acts as a catalyst for form- its anchors and activates elements in space. Do you ever notice your eye getting stuck in a particular place when looking at na unresolved design? This discord usually occurs because the proportion and placement of elements in relation to each other and to the negative space is off- too big, too tight, too flat, misaligned, and so on. Relationships among elements on the page remind us of physical relationships. Visual balance occurs when the weight of one or more things is distributed evenly or proportionately in space. Like arranging furniture in a room, we move components around until the balance of form and space feels just right. Large objects are a counterpoint to smaller ones, dark objects to lighter ones. […] A symmetrical design, which has the same elements on at least two sides along a common axis, is inherently stable. Yet balance need not be static. A tightrope walker achieves balance while traversing a precarious line in space, continually shifting her weight while staying in constant motion. Designers employ contrasting size, texture, value, color, and shape to offset or emphasize the weight of na object and achieve the acrobat’s dynamic sense of balance.”
“Balance and rhythm work together to create works of design that pulse with life, achieving both stability and surprise.” Lupton, Ellen; Phillips, Jennifer Cole / 2008
Faria, Maria Isabel; Maria da Graça Pericão / 2008 / Dicionário do Livro: Da escrita ao livro electrónico / Coimbra, Almedina
White, Alex / 2013 / The Elements of Graphic Design, Skyhorse Publishing
Tschichold, Jan / 1991 / The Form of the Book: Essays on the Morality of Good Design / Vancouver, Hartley & Marks /Original edition, 1975
Lupton, Ellen; Phillips, Jennifer Cole / 2008 / Graphic Design: The New Basics / Paperback