The first thing we need to talk about are shapes. When creating graphical elements that you plan to incorporate into your design, keep in mind that – depending on shape, position and arrangement – different elements emphasize different messages. Similar to the several meanings of formats, shapes can be rather calm right up to exceptionally dynamic.
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Shapes and their meanings
The following list shows the basic shapes and their meanings:
Square:
balanced, stable, calm
Right-pointing triangle:
indicatory, dynamic, propulsive movement Rhombus:
unsettled, unsteady, dynamic, known as danger sign
Left-pointing triangle:
indicatory, dynamic, moving backward Horizontal rectangle:
equalized, comfortable, stable, calm
Circle:
balanced, closed, stable, symbol of infinity Vertical rectangle:
unstable, tall, dynamic, rising
Oval:
unbalanced, unsteady, wobbling Parallelogram:
unstable, collapsing, concurrent
Line:
acc. to reading direction either rising, balanced, descending Standing triangle:
stable, balanced, rising, the more pointy the more aggressive
New shapes:
usually a combination of basic forms and their meanings Reverse triangle:
unstable, unsteady, active, known as danger sign
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The visual weight
Whereas the look of a shape defines its narrative power, the importance of a shape (its so called “visual weight”) is determined by aspects like its position, size, brightness, contrast, complexity, velocity, distance from the center of the image, its actual weight and its color.
The object with the most visual weight will normally be the first thing your audience will see. When it comes to building a good eyecatcher (Remember the eyecatcher? Very important!), you should give it as much visual weight as possible. And remember: your eyecatcher does not even need to be the most detailed object. It just has to attract the attention of your audience and to give them a starting point to look at. After that starting point the viewer will look at the object with the second highest visual weight, then the third, and so on.
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The big circle obviously has more visual weight than the small circle
Hold the balance
Talking about the visual weight of elements, what do you think it is also good for? Correct! For counterbalancing your image! Balance is crucial! And you have to make sure that your visual weight is balanced or you will get an unstable composition. Compare your image to a traditional balance scale that is fixed in its center and that moves one of its sides up or down according to the weight of the other side. Your composition follows the same rules. Its visual appeal is depending on its inner balance. So imagine your image only being fixed with a nail in its exact center. In which direction will it turn? If it turns clockwise, then you have too much visual weight on the right side. If it turns counterclockwise, then you have too much visual weight on the left side. If it stays in place (and you haven’t heard of the importance of balance before) you either are a natural talent or you have used two nails to hang it. If your image turns, then try to adjust your visual weight according to the rules we have learned that have an influence on it. Move some objects around, change
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their sizes, brightness, contrast, complexity, velocity, color, their distance from the center (Another analogy to the balance scale! Moving one of its sides towards the pivot point of the balance scale will make that side and its content “lighter”. Yeah, physics!) and so on.
While adjusting the visual weight, pay attention to not making everything too symmetrical and that you don’t use too many similar elements. This would make your composition harmonic BUT unfortunately could also get quite boring. Your audience will tire of looking at it quickly. Balanced asymmetry is the key! You need disharmony through different elements and asymmetry to create tension! If there is a big, heavyweight element on the right side for example, use many complex, midsize elements on the left side to compensate for the big element. Nice trick, isn’t it?
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If you want to balance your objects quickly (for example you take a picture of a dog and a flower in front of a blurry background) it is better to not perfectly center your composition on your eyecatcher for the sake of balance. You get a much more exciting and professional look by shifting your shot slightly apart. With the rule of thirds you split the image into three parts horizontally and vertically and therefore get a clear, rough grid. Now you simply have to put your subject on the lines of that grid. This will result in a perfect compromise of balance and tension. I am pretty sure that you are already familiar with that grid. It is a component of most cameras’ viewfinders to simplify the process of composing a shot for the photographer. Quick and easy. In case you only have one object, I would prefer balancing it in the proportions of the golden ratio because the rule of thirds would shift your object too much apart. (Proportions of the rule of thirds: 1:2 (red grid) – Proportions of the golden ratio: 1:1,6 (golden grid) - see figure)
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