Structures are made up of a combination of objects, but whether a structure is abstract or not depends on if those objects can be aligned in a grid. If the items are not visually aligned, they are abstract. But if they do align, it is considered a formal structure. Therefore, an informal structure entails not following a grid or any regularity. If there are no straight structure lines followed, then the configuration is considered informal. A gradated structure is a repeated structure, which changes in size and/or form gradually. This graduation can happen in many different ways, but two of the most common are the parallel and radiating gradations. Radiation can also be another kind of structure, however. A radiating arrangement is both formal and repetitive, and has objects that diverge from a shared middle. If an alignment can be estimated as a structure just by looking at it, it is considered a visual distribution. Invisible or Inactive structures can show the placement of the pieces in the structure, but do not affect the arrangement. The structural skeleton of an object is the space between each part of a structure, and the proportions and routes among them. (Christian Leborg – Visual Grammar)

Though Christian Leborg explains the basic vocabulary relating to the different types of form within structures, in his book “Visual Grammar,” it was interesting to read about the reasoning behind these forms in “Principles of Form and Design” by Wucius Won. Won explains the forms very similarly to the way Leborg does, but he expands with some more examples and reasoning. Won talks about the organization and relationship between objects being the foundation for different structures. Informal as oppose to formal structure is explained as being free as oppose to grid-like, but a “semi-formal” structure is also discussed. This refers to an in-between sort of composition with having either a grid or no grid, but showing some structure over none, yet not completely controlled. The comparisons that Won gives are also very informative. Visible structure explained as actual visible lines between the parts of the overall composition, made it easier to comprehend “invisible structure”, where the lines are there in our mind, just not shown on the page. The difference between conceptual lines and actual lines, also helped explain the difference between active and inactive structure. Inactive structure being where there are only conceptual lines, and active structure consisting of structural subdivision by using conceptual lines.

Here is an example of an abstract structure which consists of no grid or visible structure lines, but it still shows objects making a structure when placed together. (Manjuzaka – Etsy)

This structure adheres to a grid, and clearly has axes to which the objects within the composition all correspond to. There is equal distribution throughout. (http://www.dataisnature.com/)

Here, radiation is shown. There is a clear center in which different parts of the structure come from. It adheres to a grid, and formally spreads out from a center point. ( http://mandalland.blogspot.com/ )

The form of the objects in this structure gradually change in both size and form, clearly designating this structure as a type of gradation. (http://fiore-rosso.tumblr.com/post/27829086943/hengki-koentjoro-gradation)

Abstract objects are shapes that can not be tangibly formed, like the fact that the period that you put at the end of a sentence is actually a representation of the point it is suppose to be. A point then, is actually just the absence of marking, and it is made by the space between other marks, or it may be made where two lines meet. A line is made up of multiple points, bordering one another, and the “shortest distance between two points is a straight line” (Leborg 11). Beyond a line, is a surface, which consists of a row of lines. A surface is two-dimensional because it is a point that multiplied in two different directions. Furthermore, volume is made up of multiple surfaces (which of course, are created by lines and points.). Dimensions, are perceived as the height, width, and depth that we see. Anything less or more than three dimensions, we are only able to imagine, not actually perceive. Anything dimension besides 3D is an abstract to the human eye. Format, is the alignment of anything we see, in relation to its limits. Format consists of scale and proportion.

To complement several of the concepts I read by Leborg, I found a few online sources, which discussed some of the same ideas. In a blog by Steven Bradley (http://www.vanseodesign.com/web-design/points-dots-lines/) about points, dots, and lines, the idea that positive and negative space create these primary elements of design, is prefaced. Bradley implies that all dots and points have a function or purpose to them, and that the alignment of several dots next to each other (or even just two), can change their characteristics. Since visual hierarchy, a focal point, and therefore dominance, are such sought after design principles in any composition, Bradley explains how dots, points, and lines allow these essentials to appear. To build an attractive design, surfaces and dimensions usually make up the end result/visual format. However, to create two and three-dimensional compositions, we must start with the alignment of points, which can be more complicated when broken down, than we may realize. The idea that contrast, balance, and movement are all created based off of lines and dots also shows us that these principles are essential to understand, in order to create strong design compositions.