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“For Emilie du Chatelet”
Symmetry Defined:
Leonardo da Vinci's Vitruvian Man (ca. 1487) is often used as a representation of symmetry in the human body and, by extension, the natural universe.
Symmetry generally conveys two primary meanings. The first is an imprecise sense of harmonious or aesthetically pleasing proportionality and balance; such that it reflects beauty or perfection. The second meaning is a precise and well-defined concept of balance or "patterned self-similarity" that can be demonstrated or proved according to the rules of a formal system: by geometry, through physics or otherwise.
Although the meanings are distinguishable in some contexts, both meanings of "symmetry" are related and discussed in parallel.
In art and design, it is often used in a somewhat loose sense, to mean a kind of balance in which the corresponding parts are not necessarily alike but only similar.
The opposite of symmetry is asymmetry.
Resource: Wikipedia.org
Symmetrical and Asymmetrical Balance
Symmetrical balance is easiest to see in perfectly centered compositions or those with mirror images. In a design with only two elements they would be almost identical or have nearly the same visual mass. If one element was replaced by a smaller one, it could throw the page out of symmetry. To reclaim perfect symmetrical balance you might need to add or subtract or rearrange the elements so that they evenly divide the page such as a centered alignment or one that divides the page in even segments (halves, quarters, etc.).
Asymmetrical design is typically off-center or created with an odd or mismatched number of disparate elements. However, you can still have an interesting design without perfect symmetry.
With asymmetrical balance you are evenly distributing the elements within the format which may mean balancing a large photo with several small graphics. Or, you can create tension by intentionally avoiding balance.
Uneven elements present us with more possibilities for arranging the page and creating interesting designs than perfectly symmetrical objects. Asymmetrical layouts are generally more dynamic and by intentionally ignoring balance the designer can create tension, express movement, or convey a mood such as anger, excitement, joy, or casual amusement.
Asymmetrical/All Over Balance - It can't be neatly sliced in half like a symmetrical design but most of the elements have only small differences in shape and mass. This page achieves an overall balance by use of an underlying grid that spreads the many pieces out over the entire page, more or less evenly.
Asymmetrical Tension - Like a wild, unruly garden, the elements of an image are barely contained. Images may spring up primarily along the left or right side (bottom or top) but with a few pieces escaping and arching across the page. An off-balance design creates a sense of freedom and movement.
"I make 3D digital portraits with a sense that solves like a jigsaw puzzle. First of all, I collect fragmentary images that are the sources of imagination, and assemble them carefully. Afterwards, during the production process my works repeat transformation and growth like the ecdysis of insects. Such unpredictable transformation stimulates my curiosity and leads to an answer - a mysterious puzzle. The restructured fragmentary images are reborn much like a mechanical mirage in a desert of pixels. It is my time for rare dreams."
Read more...Kazuhiko Nakamura
“Not only does the mind create art, it also perceives it.” Randy Blakely, Ph.D.
The brain perceives symmetry and how artists, consciously or unconsciously, create their art based on an understanding of symmetrical principles. Symmetry is a key visual property for humans. Its importance is expressed in its ubiquitous use as a design principle in everything humans construct, from architecture to the pattern in Oriental rugs.
Defined as balanced form, a beauty of form arising from balanced proportions, it is no surprise, then, that elements of symmetry are apparent in works of art. But, it is only partial symmetry that we see. In many Renaissance works (for example) the architectural elements of a painting were symmetrical while figures in the foreground were arrayed.
Perhaps, it was theorized, that artists were unconsciously using symmetry to represent order, harmony, or serenity while the asymmetrical elements depicted that life and art are not perfect and therefore, cannot be perfectly symmetrical.
Through functional magnetic resonance imaging (an MRI) it is clear that the brain reacts to symmetry in the occipital lobe, the primary part of the brain that reacts to visual stimuli. Research indicates that human symmetry processing is hard-wired. In a matter of less than .05 of a second, humans instinctively scan a visual object for symmetrical qualities.
Questions are raised about an evolutionary bias toward symmetry, possibly due to the fact that symmetrical bodies, biologically speaking, seem to be the best designed for procreation. Studies have shown that those human faces that are widely considered to be the most attractive are also quite symmetrical. Is this equivocation of symmetry to beauty, why humans very often tilt their head to one side as they speak directly to someone, or they stand with one foot forward, at an angle, perhaps in an attempt to mask any asymmetry? Could this explain the subconscious attention to symmetry in so many works of art?
Symmetrical elements are often found in artistic works, and specifically paintings throughout many eras. One of the clues to the importance of symmetry is evident in the placement of eyes in painted portraits. A survey of portraits over the last two millennia revealed that throughout history, one eye tended to be placed symmetrically at or near the vertical axis of the canvas. This placement violates the inherent symmetry of the face and body, but expresses a deeper symmetry and concentration on the “window on the soul.” Perhaps the artists felt it was more accurate to represent their subjects in their realistic imperfection.
Interestingly, this theme is found to be present in diverse works from various cultures.
The conclusion to much of this research may be that artists are not purposefully centering eyes in their portraits, but rather, did so unconsciously.
Resource: ©2009 Vanderbilt Medical Center, Elizabeth Roth
“Nice Eyes, Nice Day ”
To Tweet or Not to Tweet, That Is The Question…
Okay MOCA fans, I have to admit that I think “Tweeting” on “Twitter” is a huge waste of time. Soon to be a by-gone fad, it seems fruitless and intrusive. I would much rather spend my time creating art or taking a walk. I don’t need to know the news that urgently.
Forgive me, but unless you’re interested in keeping the MOCA/Twitter link alive and well, I think we’ll let it sit idle…unless of course I can think of something to say that is worthy of interrupting your lives. Which is not likely.
Interesting Links and Winks...
Guess who's on YouTube?!
Blurb offers book template...
Artist Opportunities
IN-BOX
"Actually, in reality everything is very simple :)"
from = Bebeshka
"A question to the author, and here in you time in each article and in [kommentakh] is written… This what? Moscow? I thank in advance for the answer."
from = Alexander
Quote
:::This Week's Recommended Reading:::
This page posted 19 October 2009
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