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Use specific elements listed below for each each artboard in your Illustrator

document to create asymmetrically balanced compositions. Then, write an

objective description of the elements and their interactions (or relationships to
one another) to create a unified whole. For instance: how do the alignments or
proximity to one another visually group elements; which is the dominant
element; where is the focus of attention and why; does rhythm or repetition of
elements lead the viewer’s attention?

Position each element in a way to create a unified composition within the

delineated graphic space. Copy and paste the format onto each of 5 Pages :


ELEMENT FOR CONTRASTING VALUE. Utilize and identify as many design
principles to create a unified whole.

Page 1: Use 5 uppercase letters ; 5 numerals; use Arial Bold typeface change to
outlines (Create Outlines);

Page 2: Use 3 uppercase letters ; 2 lines of different Stroke Weight that connect
2 edges to divide the graphic space; 3 geometric shapes of different scales .

Page 3: Use 3 curved line segments ; 3 curvilinear shaped letters; 3 circles

varied scale

REVERSED FIELD-- positive and negative elements are reversed

Page 4: 3 letters rectalinear; 2 numerals rectalinear

Page 5: Use 2 lines that divide the space each a different stroke weight; 3
letters rectalinear; 2 numerals rectalinear
02 Amarasiriwardena - Exercise 2: Asymmetry and dynamic balance

This composition is mainly made up of corresponding characters. The main axis that the
lines are correlating to is the one that splits up most of the letters with most of the
numbers. Within this corresponding axis that all the characters are bound to, there are
two perpendicular corresponding axes from the start and end of the 7. As a whole, the
characters unify to create almost a square like shape.The viewer is led from the larger
characters (such as Y) towards the smaller characters parallel or surrounding it.
02 Amarasiriwardena - Exercise 2: Asymmetry and dynamic balance

In this composition I used the line segments to divide the workspace into four quad-
rants by making them orthogonal to eachother. I placed my lower valued circle in the
middle to show give the viewer an obvious focal point. In each of the quadrants I placed
either letters, shapes or both. Each shape is parallel to the axis counterclockwise to it.
This almost gives it a rotational symmetry effect as the viewer is led from one quadrant
to another. As they do this the sizes of the shapes also decrease in a counterclockwise
direction. The viewer is led from the perpendicular lines and the ‘cross-hair’ outwards to
the shapes and characters in each of the quadrants.
02 Amarasiriwardena - Exercise 2: Asymmetry and dynamic balance

In this composition I placed three curvilinear letters in the center with their straight
edges parallel/orthogonal to eachother which created a nice focal point. I then wanted
to focus on each letter’s curvature individually so with the D, I mimicked its curve with
corresponding cocentric arcs and to break it up I did one at the end that was opposite in
direction of it. For the B, I used its two curves and mimicked it with two variying sized
circles that corresponeded in its position. Since the P was a different shape than B and D
and didn’t fill in its lower half I decided to place a circle to fill in the void. The viewer’s
attention is led from the center of the three letters outwards to the objects.
02 Amarasiriwardena - Exercise 2: Asymmetry and dynamic balance

For this composition there is no specific focal point except the three large numbers. I
made the 4 and 7’s edges parallel to eachother such that it looks like the 4 is mirrored
across the axis creating another 4 out of the figure shape of the 1 and the 7. The viewer
is led in from the large numbers (17) two the perpenduclar/parallel characters.
02 Amarasiriwardena - Exercise 2: Asymmetry and dynamic balance

I used two line segments to create a diaganol that divided up the area. The X was placed
right at the intersection of the lines to correspond with the diagonal effect of the line
segments. I then placed the two other rectalinear letters to the right and left of the X to
show symmetry between the divided up space that formed several triangular shapes in
the background. I made the numbers parallel to the thin line segment to show continu-
ation and correspondence. The numbers also balance out the top and bottom
whitespace. The viewer’s attention is led outwards from the intersection of the line
segments and the X.