12 symmetry
“Symmetry is static—that is to say quiet; that is to say inconspicuous.”
WILLIAM ADDISON DWIGGINS (AMERICAN, 1880–1956) Book Designer, Calligrapher, Typographer
sym·me·try \'si-mə-trē\ n
1: balanced proportions; also: beauty of form arising from balanced proportions
Symmetry is a fundamental and timeless principle of visual perception. In visual communications, symmetry conveys balance, stability, and harmony. When visual elements are completely balanced or centered, they are in a state of equilibrium where all elements have equal weight. The result is a state of visual balance and is identified as symmetry. It is a compositional state where design elements are organized on the central axis of a composition (either its horizontal or vertical axis). A similar compositional state can be achieved when design elements are organized in relation to each other’s central axes. A symmetrical composition is static, stationary, and balanced, with the negative spaces around its elements or the contours of its elements located around its central axis all appearing the same or of equal weight.
Symmetrical, or formal, balance is also known as bilateral symmetry. It is achieved by repeating the reverse of an image on the opposite side of a vertical axis; each side becomes the mirror image of the other side. Symmetrical balance is considered formal, ordered, stable, and quiet.
The compositional design principle of symmetry has also long been associated with physical beauty, natural or man-made. Symmetry can be found in virtually all forms of the natural world, including the human body, animals, and plants. Classical architecture also combines symmetrical types, creating unified, dynamic, and memorable forms. Prime examples found in the man-made environment are Notre Dame Cathedral, the Eiffel Tower, and the U.S. Capitol.
The visual integration of an uppercase L and I illustrate a strong symmetry, or balance, with this logotype for Leo Ingwer Jewelers, even if the combined letterforms are not truly symmetrical in graphic form. Additionally, the scale and typographic treatment of the company’s name and year established further strengthens the symmetry of this typographic composition.
AND PARTNERS
New York, NY, USA
The branding program for Boney’s Bayside Market, from packaging and advertising to environmental graphics and shopping bags, uses symmetry combined with casual sans serif typography, hand-drawn letterforms, textural food photography, and quirky line illustrations to communicate the feel, ambiance, and ultimate experience of shopping at a family-owned, neighborhood gourmet food market.
MIRIELLO GRAFICO
San Diego, CA, USA
1949
William Shakespeare: The Tragedy of King Lear Book Cover
JAN TSCHICHOLD
Engraved Shakespeare portrait by Reynolds Stone (British, 1909–1979)
London, UK
Jan Tschichold and the Penguin Classics
In 1947, JAN TSCHICHOLD (1902–1974) emigrated from Switzerland to Great Britain to accept a position at Penguin Books as its new design director. Founded in 1935, Penguin Books was one of the most commercially successful book publishers in Great Britain.
Prior to Tschichold’s arrival in London, Penguin paperbacks were not produced with any specific design standards or production criteria. Their existing standards, dated and limited, were generic and inappropriate in comparison with the publisher’s reputation and offerings. Tschichold quickly realized that a new and unique set of compositional rules and standards were needed at the publishing house.
Tschichold’s redesign of Penguin books in the late 1940s not only revolutionized typographic conventions but also reintroduced compositional standards that had long been labeled out-of-date.
Tschichold developed a pragmatic look for Penguin Books that was extremely appropriate for a large number of book titles, while increasing a level of balance, consistency, and readability throughout their catalog. In his view, adherence to the tenets of classical typography—symmetry, legibility, a balance of type styles, wide margins, contrast, simplicity, and integrated rules and ornaments—were all integral to a book’s timeless function.
Tschichold had begun to reject the rules of Die Neue Typographie (The New Typography) and functional Bauhaus principles while designing books in Switzerland between 1933 and 1946. He realized then that symmetrical and asymmetrical typographic treatments could equally accomplish the requirements and goals of successful book design.
While at Penguin, he established a new set of general design principles based on his broad vision of good design. These guidelines were documented in a four-page essay titled “Penguin Composition Rules,” demanding that all Penguin designers follow these standardized rules for all aspects of book design and composition.
Tschichold also designed many book covers himself, including the Penguin edition of Shakespeare’s The Tragedy of King Lear, released in 1949. While conventional in design, it is a clear and well-balanced composition that is immediately legible to the reader. Its solid black border is reinforced by inset hairline rules that provide a strong frame for the symmetrical typography set in Monotype’s Perpetua. During his tenure, Tschichold standardized the design for Penguin’s extensive book series, and The Tragedy of King Lear is a prime example of the basic compositional principles he devised for Penguin Classics, making them instantly recognizable to the consumer.
By raising the aesthetic level of a mass-market publisher of paperback books, Tschichold brought to life the timeless principle of symmetry that graphic designers still rely upon today. Tschichold later wrote, “We do not need pretentious books for the wealthy, we need more really well-made ordinary books.”
This series of book covers for five Ernest Hemingway (American, 1899–1961) novels relies upon traditional symmetry combined with serif typography to celebrate these classic, seminal books. The use of textural images as visual metaphors allows the reader’s imagination to connect with the familiar themes of these iconic novels.
THE OFFICE OF PAUL SAHRE
New York, NY, USA
In this monogram for Tiffany & Co., the designer uses ligature, as well as in-depth knowledge of and intimacy with letterform, to create a unified, balanced symmetry for an already simple idea.
LOUISE FILI LTD.
New York, NY, USA
Types of Symmetry
There are three types of basic symmetry:
Reflective
Horizontal and vertical symmetry are identified as reflective symmetry. This type of symmetry is created by mirroring equivalent elements around a central axis or mirror line. Reflective symmetry can be achieved in any orientation as long as its elements are the same on both sides of the mirror line. Forms found in nature, such as a monarch butterfly, exhibit reflective symmetry.
Horizontal symmetry is created with an imaginary horizon or a left-to-right line functioning as the divider of the composition, with the top and bottom sections mirroring one another. A landscape reflected in a still pond is an example of horizontal symmetry.
Vertical symmetry is created with an imaginary vertical or a top-to-bottom line functioning as the divider of the composition, with the left and right sections mirroring one another. A Rorschach inkblot is an prime example of vertical symmetry.
Each of the fourteen framed and contained blocks of typographic text in this cover for Los Angeles magazine is composed in a symmetrical manner, and collectively composed as one overall symmetrical composition, further illustrating the diversity and power of this guiding compositional design principle.
TIMOTHY GOODMAN
New York, NY, USA
Symmetry functions as the compositional guide for the typographic elements of this cover for a set of novels by Thomas Mann (German, 1875–1955)—Tristan, Death in Venice, and Gladius Dei. Although the trees are not symmetrical in the photographic composition, they are visually balanced and add a powerful metaphor to the title of this book set.
JOHN SURACE, Student
ANITA ZEPPETELLI, Instructor
SCHOOL OF VISUAL ARTS
New York, NY, USA
This book cover for Sean McCloud’s Divine Hierarchies illustrates how symmetry can create a state of visual equilibrium and balance through the effective and meaningful use of centered compositional elements, appropriate scale, color, value, and typographic style.
ROGERS ECKERSLEY DESIGN (RED)
New York, NY, USA
This promotional poster for the School of Visual Arts is based on a common eye test chart as well as the compositional design principle of symmetry and was designed to catch the attention of prospective students as they traveled the New York City subway system.
MIRKO ILICĆ
New York, NY, USA
The typographic compositions for the book covers of Rollo May’s (American, 1909–1994) The Courage to Create and Man’s Search for Himself use symmetry as a compositional principle, combined with vibrant colored frames and pull quotes to reinforce the dynamic balance between these two book covers.
MOTHER DESIGN
New York, NY, USA
Rotative
Rotating equivalent elements in an outward direction from a common center point while drawing attention inward is identified as rotative symmetry. This can occur at any angle or frequency as long as its elements share a common center point. Arabesque and mandala patterns are examples of man-made rotative symmetry. A sunflower is an example of rotative symmetry found in nature.
Translative
This type of symmetry is created by locating equivalent elements in different areas of a composition. Translative symmetry can occur in any direction and over any distance as long as the basic orientation of its design elements is maintained. Continuous patterns found in architectural surfaces such as façades, friezes, and pediments are primary examples of translative symmetry.
Aside from its aesthetic properties, symmetry has other characteristics that are potentially beneficial to graphic designers. Symmetrical forms are seen as figure elements rather than ground elements in any visual composition. They traditionally receive more attention and are more memorable than any other compositional organizations. Symmetrical forms are also simpler than asymmetrical forms, which makes them more immediate and recognizable in a visual composition to the reader’s eye.
Bilateral symmetry is a compositional principle used on this brightly colored, triangular background pattern as well as with the decorative typographic and line elements contained within the larger triangular frame used on these wine labels for Tratturi Primitivo.
LOUISE FILI LTD.
New York, NY, USA