Components of a visual structure identify with the viewer, the arrangement, and different components inside the piece. Objects that are assembled together in a composition will either attract or repel one another. Items attracted in a 2-D form, for example, a circle, are adjusted and not in development. The persuasive powers are similarly solid and counterbalance one another. At the point when objects are indistinguishably masterminded on the two sides of a pivot, they are symmetrical. A question can be monosymmetric or multisymmetric. Symmetry is achieved when the composition is in balance. A composition is in visual balance when all components have visual harmony. This visual balance can be created between items that have a similar shape, with unique positions. Without this cooperation between components, a synthesis is static and not dynamic. At the point when objects are replicated in a structure, they produce a unit. Components that are replicated along a line form a straight line.
The components in a structure made out of polygons are comprised of triangular units. A polygon must have in excess of four sides with the end goal to be mistaken for a circle. A unit can likewise be founded on parts of a circle; bended lines are a piece of a circular frame. The fineness or coarseness of a structure is controlled by the separation between the structural lines. An unpredictable scattering of objects in a structure is called dispersion. The structure can move from being fine to coarse, and from inadequately to exceedingly permeated. A gathering of forms can characterize a composition, for example, a corner, an edge, a middle ground, or a focal point. A composition can have condensed (visually “busy”) and open areas, and as such, make contrast between white space and visual components in the design. The situation of objects in the structure can strengthen this impression. Through thoughtful utilization of the different portions of a design, the designer can play with the relationship between organic and abstract. Compositions may imply substance or absence, or of movement. A composition can have portions with numerous components, and portions with a lot of white space. Areas with a substantial number of objects are not necessarily overwhelming. Which parts of a composition are seen as the focal point, or which give the composition its depth and context, are dictated by the situation of the visual components and their connection to one another.
Works Cited:
Leborg, Christian. Visual Grammar. Princeton Architectural Press, 2006.
Above: Image source: https://www.danielpatricksimmons.com/store/. The composition of these forms creates visually intriguing negative space and the implication of a personified form (an eye, perhaps?).The way that the half-circle and quarter-circle balance precariously on the curve of the lowest half-circle create abstracted balance, even if the form is asymmetrical.
Above: Image source: http://theinspirationgrid.com/low-polygon-sculptures-by-xavier-veilhan/. This sculpture breaks the organic form of a human (woman) down into sharp polygons- triangular shapes. The curves of a woman's body are replaced by sharp angles, which interestingly does not affect the interpretation of the form as a human body (although the face is quite contorted).
Image source: http://makeitatyourlibrary.org/technology/3d-printed-reaction-diffusion-patterns#.W-ymOi2ZMdV. This pattern recalls the static movement of works such as those by Keith Haring. The density of the pattern is quite visually heavy, but upon closer examination by the viewer, four letters can be made out. This texture is quite coarse by Leborg's standards.
Above: Image source: http://www.junyamaejima.com/#/bosso-visual-identity/. A concept as visually rich as a pizza restaurant is broken down into minimalistic, small forms; allowing plenty of space for white space- something very unconventional that Junya Maejima has artfully completed. The use of white space surrounding the individual forms- and the white space between the elements of the forms (between the stem and body of the mushrooms and tomatoes, for example) are visually pleasing and even suggest an element of movement.