- While the Western world was building symmetrical buildings
out of stones, Japanese structures
by necessity of their environment were built of wood.
Rather than doors that opened out
these structures use lightweight wooden sliding doors.
The act of opening a sliding door
creates an asymmetrical opening.
Western architects like Frank Lloyd Wright use this approach
and asymmetrical layouts began to emerge.
Today we still look at asymmetrical layout
and assign them as modern, edgy, or avant-garde
as opposed to the classical centered layout.
Asymmetrical solutions typically feel more casual
than symmetrical layouts.
This is a good way to set a friendly tone.
One that says I'm not uptight.
I'm friendly and groovy.
If symmetry is based on a beautiful
and elegant form like a chandelier
asymmetry is like a mobile.
There is no perfect formula to keep all the forms
from tilting to one side or falling to the ground.
It is a constant shifting of balance
using a shape, typography, scale and imagery.
Remember the goal isn't to make it all equal,
but to allow the forms to feel as if they are in movement,
interacting with each other.
In the same way that symmetrical design
is not always classical and formal
asymmetry can work with traditional forms
and historical representation.
This poster is perfectly acceptable here
with centered imagery and typography.
But when the image is centered left to right,
but the topography remains flush left,
it provides a modern and fresh vitality.
Good asymmetrical design is not a free for all
with images and typography.
It succeeds when the same care
and skill used with symmetrical design is employed.
At the core of successful asymmetrical layout
is a clear system of alignments, order
and consistent proportions.
In order for everything to feel cohesive,
the elements and negative space
must feel unified and related.
The freedom of an asymmetrical layout doesn't preclude
maintaining consistent rules.
It's a good idea to make sure
that you're working within a structure.
Here a series of squares keeps the content ordered
and hidden in that system of squares is a number one,
signifying the store's premiere status.
If the layout has topography that is flush left, centered
and flush right it's a mess.
Stick to one system throughout.
If one block of text is flush right,
then all of it is.
I make sure all my type sizes are related.
If the body copy is eight point, the headlines are 16 point.
I do the same with images.
One can be 12 picas across another six picas.
This consistent use of scale will help create cohesion.
I then look at my negative space.
Is the space between the headline and copy
related to the space between the text and image.
When there is an optical similarity to all elements,
they will always feel united.
Asymmetry is a challenging balancing act,
but the results can be unexpected, fresh and energetic.
And frankly, I like a good challenge.