achieving dynamic balance

In this chapter, we will explore how the ONE RULE OF COMPOSITION: Never make any two intervals the same can be used to create dynamic balance. We have already seen how complexity in a design creates visual tension. That tension creates interest in a composition, providing the stimulus that activates our attention.

However, too much complexity invites visual chaos, which is unpleasant to look at. We need to find the right balance between boring order and distressing disorder. Too much variation causes a painting to lose unity. Not enough variation causes a painting to lose interest.

A composition needs variation to be interesting,

but that variation needs to be balanced to be coherent. What is needed is dynamic balance.

the importance of balance

Balance is a key part of creating a pleasing composition. Imbalance is disconcerting or distracting, so an unbalanced composition can make the viewer feel uncomfortable. There is a reason for the expression “mentally unbalanced”: the psychological feeling of being out of balance is as unpleasant as the physical one. Lack of balance suggests incompleteness, irresolution and unpredictability.

A composition lacks balance if its components do not require the viewer’s eye to cross over a central axis. If all the visual activity is concentrated on one side of the composition, the viewer has no reason to look from one side to the other. The sense of incompleteness this creates upsets our equilibrium.

If the visual activity is equal or identical on either side of the axis, a static balance is achieved. No visual tension is created and little interest is generated.

Unbalanced
If all the visual activity is on one side of a central axis, the viewer’s eye is not required to cross over, and a sense of imbalance is created.

Static balance
If all the visual activity is situated on the central axis (far left), or if the visual activity is identical on both sides of the axis (near left), a static balance is created.

Cross over the central axis
When all the visual energy is concentrated in only half of the picture (far left), the ONE RULE OF COMPOSITION is violated. The viewer’s eye does not cross over the central dividing line and an unbalanced, unattractive composition results.

By locating an element with visual energy on the other side of the central axis, the viewer’s eye crosses over it and a dynamic balance is achieved (near left).

Diagonal axis
The central axis is not always vertical. Locating all the visual activity on one side of a diagonal dividing line creates an unbalanced composition (far left).

This painting (near left) shows how locating an element with visual energy on the other side of the diagonal axis creates a dynamic balance.

When the visual energy is not identical, visual tension is generated and a dynamic balance is achieved. In such a composition we find visual activity that is pleasing to our aesthetic sense.

Energy in balance
In A Place in the Mountains, most of the visual energy is on the right. However, the eye is induced to cross over the central axis by the figure and buildings in the lower-left corner. Their very size invites attention. The trees on the left form a block to redirect the eye back into the composition. Together, the figure, houses and trees counterbalance the much larger and more visually active house on the right.

A Place in the Mountains Margaret M. Martin 22" x 30" (56cm x 76cm) Watercolor on paper

A delicate balance
The extreme perspective of the passenger cars on the right pulls the eye into the picture to the focal point of the composition, the distant locomotive. The plume of smoke and the triangular cloud above also direct the eye to that point. The trackside structures on the left balance the visual energy on the right half of the composition. Though small in comparison to the dominant shape of the train, they are sufficient to keep the picture from looking lopsided. These structures also have the important function of keeping the eye from exiting the picture to the left. Without them, the dramatic convergence of the oblique lines from the right would create a velocity strong enough to propel the eye out of the composition.

Westbound, With Mail Ted Rose 12" x 16" (30cm x 41cm) Watercolor on paper Collection of Jay and Linda Jacobs

static versus dynamic balance

Achieving balance is a matter of adjusting visual weight and visual energy. If balance is created with visual elements identical in both weight and energy on either side of a central axis, a static balance is achieved. Static balance does not follow the ONE RULE OF COMPOSITION:Never make any two intervals the same.

If the balance is created with two visual elements that are not identical in weight and energy, a dynamic balance is achieved. Intervals are not the same and the ONE RULE OF COMPOSITION applies.

Static balance is also called formal, classical or symmetrical balance because it is based on an equal or even (symmetrical) arrangement along a central axis.

Dynamic balance is also called informal or asymmetrical balance and is based on an uneven arrangement.

Static balance
When children of the same weight are equidistant from the center, they balance perfectly and the seesaw remains level.

Dynamic balance
If one child is bigger and both are equidistant from the center, the seesaw doesn’t remain level. To keep the seesaw level, the bigger child must move closer to the center, or the smaller child farther from the center.

Symmetrical arrangement
Avoid centering things. The center is the most boring part of the painting. Symmetrical compositions are naturally static.

Asymmetrical arrangement
Although the image is still centralized, the tree and house are asymmetrically arranged and visual interest is increased.

Static balance
The tree and the house have identical visual weight and energy. A static balance is created.

Dynamic balance
The house and tree on the left have greater visual weight, but the house and tree on the right counterbalance the weight, creating a dynamic balance.

Central but asymmetrical subject
Although the subject matter is centralized in this composition, the elements are asymmetrically arranged, creating visual interest. If Frank had placed a figure on both sides of the tree, a more static and less interesting arrangement would have resulted.

Spring Plowing Frank Nofer, AWS 9" x 12" (23cm x 30cm) Watercolor on paper

Color and weight are dynamically balanced
The small red bird on the left perfectly counterbalances the dark mass of thickets on the right. The viewer’s eye crosses the central axis back and forth, creating great visual interest.

Beyond the Thicket Frank Nofer, AWS 14" x 27" (35cm x 69cm) Watercolor on paper

balancing visual weight and energy

Dynamic balance is achieved by adjusting the visual weight and energy of a painting’s components so there is enough variation to be interesting, but not so much that the picture loses coherence. If the components are equal in terms of visual weight and energy, a boring static balance occurs. If the components are too dissimilar or unequal, an imbalance will occur.

Two components can be dynamically balanced by adjusting their visual weight or visual energy. A visually heavy element can be countered by a sufficiently energetic element. Size, color, complexity and many other characteristics can be adjusted to create a visually exciting balance. For example, a brightly colored or strongly textured object can balance a larger, but dull-colored or untextured shape.

Weight
The larger shape on the left is balanced by the heavier, smaller, darker shape on the right.

Energy
The larger shape on the left is balanced by the smaller shape with greater visual energy on the right.

Color
The larger, cooler shape is balanced by the smaller, warmer red shape on the right.

Texture
The larger flat shape is balanced by the smaller shape with greater texture on the right.

Complexity
The more complex pattern on the right counterbalances the simpler shape on the left.

Gradation
The solid shape on the left is counterbalanced by the gradation in the opposite corner.

Distance
The sheer expanse of space on the right of this elongated frame counterbalances the weight of the shape on the left.

Detailed water counterbalances the center of interest
The center of interest of this composition is concentrated in the lower-right corner. If not for the visual activity of the ripples and reflections in the rest of the painting, it would be lopsided, inviting the eye to fall out of the picture through the lower right. The artist used the concentric rings of rippling water to pull the eye back in.

First Impressions Jeffrey J. Watkins 11" x 14" (28cm x 36cm) Watercolor on paper

Distance and space counterbalance color
The red dress has both visual weight and energy, with no other object to the right for balance. Therefore Frank included the expanse of wall and building to balance it. Because the figure faces left and appears to be moving toward the left, our attention would drawn out of the composition if not for the counterweight of space on the right.

The Lady in Red Frank Nofer, AWS 10" x 19" (25cm x 48cm) Watercolor on paper

Pumpkin Time Rod Lawrence 10" x 7" (25cm x 18cm) Acrylic on panel Private collection