Graphics Reference
In-Depth Information
20 Symmetry is the ultimate evil.
In all its manifestations, symmetry is a compositional strategy to be approached with
caution. Along with its inherent quietness, inflexibility, and disconnect from most other
kinds of form, symmetry brings with it a set of classical, stuffy, old-world, elitist mes-
sages that, in the context of the past fifty years or so of design work, can immediately
skew communication away from a feeling of relevance. It is precisely because of this
effect, however, that symmetry can be a powerful approach to designing very formal,
historical, and serious material—as well as material that requires a very simple, clear
separation of image and typography, strong contrast between dynamic, textural content,
or rigid presentation of a great deal of similar content. When working with symmetric-
al relationships—whether those of text configuration or image placement—the tension
between spatial intervals, density and openness, and light and dark becomes critical in
maintaining visual activity so that the symmetry becomes elegant, lively, and austere,
rather than heavy-handed, stiff, and dull.
The symmetrical arrangement of type and imagery in this poster is counteracted by irregular
graphic elements and stark changes in contrast and rhythm, avoiding any possibility of a static
layout that will fail to engage the viewer.
MV Design
United States
