For this exercise we had to draw one or two squares or rectangles in an empty square to demonstrate the following visual effects:

• Entering left
• Movement to the right
• Movement to the left
• Movement downwards
• Movement upwards
• Balance
• Tension
• Symmetry/asymmetry

We had to provide at least two examples of each. In some cases, I forgot that we could only use one or two squares/rectangles and I added more; however, those are only extras.

My examples are below:

Entering left

Moving the square to the very edge of the page creates a sense of entering from the left.

Movement to the right

When more than one square is placed on the right side, it creates a sense of movement toward the right. Just one square might feel stationary, but two create a sense of movement.

Movement to the left

When more than one square is placed on the left side, it creates the sense of movement toward the left.

Movement downwards

When more than one square is placed on the bottom, it creates the sense of movement toward the bottom.

Movement upwards

When more than one square is placed on the top, it creates the sense of movement toward the top.

When items seem to be moving in a direction, it can also create a sense of those items being on their way to “leave the page”.

Balance

Balance is created when the space around the shape(s) is equal on all sides, such as a square in the middle. This also looks stable and static; it does not create movement. Balanced designs create a sense of calm and are symmetrical.

Tension

Tension is created when elements play with scale, contrast, and space in a dynamic and sort of uncomfortable way. Asymmetry is used to achieve this, where items are not centered, mirrored or perfectly balanced. It has a feeling of movement.

Symmetry

Symmetry is created when objects are centered, leaving equal amounts of negative space around the object(s) on all sides, creating a mirror image. Symmetry aims to create calm, balanced, and more stationary compositions.

Asymmetry

Asymmetric compositions are more dynamic, they create movement, tension, and are less rigid (as there are fewer rules to follow). However, even in asymmetric designs some level of balance can be achieved by using objects of similar visual “weight”, even if the objects look very different from each other and are placed on different sides of the page. In asymmetrical designs, negative space can more easily become part of the design as well instead of it feeling passive.