Design 3

Front 1

A conceptual point indicates a position in space. It has no length, breadth or depth. It marks the two ends of a line, the single place where lines intersect and the meeting of line at a corner of a plane or the angle of a solid form.

Back 1

point

Front 2

As a point moves its path becomes a line. A conceptual line has length but no breadth or depth. It has position and direction. It defines the boarder of a plane and marks the place where two planes join or intersect each other.

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line

Front 3

The path a line in motion (in a direction other that its own intrinsic direction) becomes a plane. A conceptual plane has length and breadth but not depth. It is bound by lines. It defines the external limits of a volume.

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plane

Front 4

The path of a plane in motion (in a direction other than its own intrinsic direction) becomes a volume. A conceptual volume has length, breadth, and depth, but no weight. It defines the amount of space contained or displaced by the volume.

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volume

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A volume that has weight, density and bulk (visual and or actual)

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mass

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extends in all direction and has no boundary. Space is a dialog between the structure and is surroundings.

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space

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The total visual appearance of a design. A three dimensional object.

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Form

Front 8

the outward appearance of a design and the main identification of all the types of the basic visual elements. Shape helps to identify forms. For example: A sphere is identified as a circle. A cylinder is identified frontally by a rectangle and from above by a circle.

Back 8

shape

Front 9

the relative size of an object (smaller or bigger). It is also the length and brevity of an object. Both of these characteristics of size can only be established through comparisons. Size and scale can also describe an object by way of measurement. Measurement of size and scale is established through length, breadth and depth
(or height, width and thickness).

Back 9

scale

Front 10

this or light is what most clearly distinguishes form from its environment. An object has an inherent this-Our perception of an object ‘s color changes through environment (light, proximity, context).

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color

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The physical, outer most boundary of an object.

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surface

Front 12

A view of the form as seen from the top.

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plane view

Front 13

A view of the form as seen from the front.

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front view

Front 14

A view of the form as seen from the side.

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side view

Front 15

The measurement of a form from one end to another or the measurement of a form from top to bottom (vertical measurements). Used with 2-D and 3-D measurement.

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length/ height

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The measurement of a form from one side to another or the measurement of a form from side to side (horizontal measurements). Used with 2-D and 3-D measurement.

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Breadth (width)

Front 17

The measurement of a form from its nearest surface to its farthest surface or the measurement of a form from front to back (volumetric measurement). Used only with 3-D measurement.

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Depth (thickness)

Front 18

Both the position and direction of a form are obtained by establishing at least two of the three basic views within three-dimensional design (length, breadth and depth).

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posititon and direction

Front 19

actual not illustionary- can be seen as positively or negatively occupied-something or nothing.

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space

Front 20

is real and has a constant effect on the structure of a design. Three-dimensional designs need to be supported, anchored , hanged, suspended etc. All three-dimensional designs are subject to the laws of "this" puts limits on the possibilities of three-dimensional design.

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gravity

Front 21

An individual element used within the larger format of a design.

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unit

Front 22

Smaller forms which are repeated, with or without variations, to produce a larger form

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unit forms

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A smaller component of a unit form used to construct a unit form or add to it.
(smallest forms)

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sub-unit

Front 24

A form constructed through the use of two or more unit forms.

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super unit

Front 25

The placement of a units within a design. The movement of a unit form: backward/forward, up/down, left/right or the contraction of a shape.

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Positional/Directional Variations of Unit Forms

Front 26

Is the governing factor over the way a form is built, or the way a number of forms are put together.overall spatial organization of a design.

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stucture

Front 27

A method of modeling, carving or stamping in which the design stands out from the ground to a greater or lesser extent.

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relief

Front 28

Work that is designed to be viewed from the front and sides only

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3/4 work

Front 29

Works that are designed to be viewed in the round, from all sides.

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Freestanding Works

Front 30

A symmetrical three-dimensional shape, either solid or hollow, contained by six equal squares

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cube

Front 31

A vertical structure that is constructed by stacking numerous cubes on top of one another.

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column

Front 32

The repeating of columns left to right that are adjacent to one another. with this a form is repeated in two directions first vertical then horizontal

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wall

Front 33

Cubes or geometric forms without a front or rear plane.

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cells

Front 34

The body of a cylinder is defined by on continuous plane, without a beginning or a end, and the top and bottom shape of this is a circle.

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cylinder

Front 35

is a modified column. Modifications can be made through parallel shapes at either end of the column, dissimilar shapes at either end of the column or by the use of truncation or added vertices.

Back 35

prism

Front 36

A complex solid form containing many planes or faces, usually more than six.

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Polyhedral Structures

Front 37

A grouping of five regular, geometric solids that are polyhedral forms. these help in establishing even more complex polyhedral shapes. theseare built from the use of one type of geometric unit. The five regular geometric solids are: the tetrahedron (four faces), the cube (six faces), the octahedron (eight faces), the dodecahedron, (twelve faces) and the icosahedron (twenty faces). Each of these platonic solids is constructed of regular faces, all congruent, and their vertices are regular polyhedral angles.

Back 37

Platonic Solids

Front 38

This is a classification of shapes with semi- regular polyhedral structures. these are made from more than one type of geometric unit. ex are:the cuboctahedron, truncated octahedron, the rhombicuboctahedron and the great rhombicubocathedron

Back 38

Archimedean Solids

Front 39

A shape with uniform properties that conform to certain prescribed rules; for example, a square must have four equal sides at 90 angles.

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Regular Forms and Shapes

Front 40

A shape lacking uniformity. A non-uniform shape with varying angularity

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Irregular/Distorted Forms and Shapes

Front 41

Having form referential to biological structures, often refers to a form that has structure without angularity

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Organic Forms and Shapes

Front 42

Forms and shapes based on the sinuous organic shapes found in nature

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Curvilinear Forms and Shapes

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Forms and shapes that reference objects from a known environment

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Referential Forms and Shapes

Front 44

A flat plane can be treated in the following ways to transform it -cutting, curling and bending.

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Distorted Planes

Front 45

An equilibrium among interacting and/ or opposing forces in a visual composition.

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balence

Front 46

The size of an object relative to its surroundings.

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scale

Front 47

Refers to the relative height, width and length of an object. Any change in 'this' substantially affects all aspect of a three-dimensional form.

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Proportion

Front 48

The distance between parts of a structure of between the object and the audience.

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Proximity or Position

Front 49

Used to create variety within a composition.

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contrast

Front 50

The repeated use of any aspect of design.

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repetition

Front 51

A sequential organization of multiple forms in space. A visual tempo or spacing within the design.

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rhythm

Front 52

balance creates equilibrium between visual elements that differ in size, number, weight color or texture.

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asymmetrical balence

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Balance created when visual forces in a composition imply an outward expansion

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Centrifugal Balance

Front 54

Balance created when visual forces in a composition imply an inward movement, suggesting a compression of space.

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Centripetal Balance

Front 55

The repetition of a boundary in diminishing size to create a bull’s eye effect

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Concentric Balance

Front 56

The quality of form which activates an envelope of space around it.

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Radiation

Front 57

The major axis of a form or object; for example, the spine might be though of as the primary axis of the human skeleton.

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primary axis

Front 58

A term used for the various repetitive spacing of units within a form or design. The variations of spacing can be made narrow or wide. With the use of serial planes, it is the spacing between the planes. If no positional variations are introduced in the construction of serial planes, then all the serial planes will be parallel to one another, each following the next successively, with equal spacing between them.

Back 58

Positional Variations

Front 59

The direction of a plane can be varied in three different ways: 1. Rotation on a vertical axis 2. Rotation on a horizontal axis 3. Rotation on its own plane. Often used within the construction of serial planes.

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Directional Variations

Front 60

The use of volume as negative and positive space within a given form. Open form refers to a volume without faces or surfaces. Closed form refers to volumes with faces and surfaces that help to imply mass to the enclosed volume. Closed forms dictate and imply the volume of open forms.

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Open and Closed Form

Front 61

Arrangement along an axis

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Alignment

Front 62

The perceptual gathering of several elements

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grouping

Front 63

Adjacent placement of visual elements

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Juxtaposition

Front 64

occurs when part of one structure/form is inside the space defined by another structure/form.

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Interpenetration

Front 65

The proximity to which compositional parts are spread out or crowded together. The visual connections that occur easily in a high-density composition are often less obvious in a low-density composition.

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Density

Front 66

Smooth transition or change

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Modulations

Front 67

An element or principle which allows the viewer to visually or conceptually connect or group various components of an object.

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unifier

Front 68

An element that changes the perceptual effect of form in space.

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Modifier

Front 69

Space-not occupied by matter-which is perceived as coherent as a result of the interaction of surrounding elements of form

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Implied Form

Front 70

Space-not occupied by matter-sensed as coherent and resulting from the interaction of surrounding elements of form-usually planes.

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Implied Volume

Front 71

Space aligned along a surface as a result of the interaction of surrounding elements of form-usually the result of the interaction of lines.

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implied plane

Front 72

Spaced aligned along an axis as a result of the interaction of surrounding elements of form-usually the result of the interaction points

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implied line

Front 73

The planar areas of an object that are exposed to the viewer.

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surface

Front 74

The tactile aspect of surface.

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texture

Front 75

A broad area with a unified texture

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Textural Field

Front 76

The quality of surface which turns light back into space, ranging from low (as in a matte surface) to high (as in a mirror).

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Reflectivity

Front 77

To go into or through. To create a negative space within a form or on the surface of a plane.

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peirced

Front 78

To create numerous holes within a form or on the surface of a plane. To redefine a plane or a form’s edge through a subtractive process.

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Perforated

Front 79

A gradual and orderly change of an element. A gradation can occur in a shape, form, unit or within a scale shift.

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Three -Dimensional Gradation

Front 80

The result of arranging form in such a way as to suggest a possibility of movement

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Potential Energy

Front 81

The extending outward of a material to fill more space.

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expansion

Front 82

The state of an object being stretched or tightened. The expansion of volume.

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Tension

Front 83

The exaggerated use of linear perspective to achieve a dramatic and engaging presentation of the subject.is often created using an unusual viewing position, such as bird’s eye view, accelerated convergence, or some form of distortion.

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Amplified Perspective

Front 84

Sensed movement in an object which is actually static.

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Perceived Movement

Front 85

A static form that suggests motion or a form that actually moves.

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Kinetic Form

Front 86

A form that does not move or suggest movement.

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Static Form

Front 87

A way of constructing a volumetric form by way of revealing its cross sections through the use of a repeating plane. Serial planes slice a form into units at regular intervals. The use of a gradation within the depiction of planes will establish variations within in the described form.

Back 87

serial planes

Front 88

The exploration of cells through their repetition and variation via the principles of scale shifts and positive and negative space.

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Spatial Cells

Front 89

A method of modeling, carving or stamping in which the design stands out from the ground to a greater or lesser extent

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relief

Front 90

In a relief, the lowest level. From Italian basso-rilievo meaning “low relief”

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bas-relief

Front 91

The variations of heights of various elements within a form in relief. Low relief, at its lowest, is referred to as bas relief. the various progressions outward from bas relief. Low and high relief are measured against one another to determine their state.

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high-low- relief

Front 92

An element or which projects horizontally into space, supported at only one end.

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Cantilever

Front 93

Fibonacci

Back 93

In mathematics, the Fibonacci numbers are a sequence of numbers named after Leonardo of Pisa, known as Fibonacci. The first number of the sequence is 0, the second number is 1, and each subsequent number is equal to the sum of the previous two numbers of the sequence itself, yielding the sequence 0, 1, 1, 2, 3, 5, 8, etc.

Front 94

vertex

Back 94

The angular meeting point of numerous planes that help to comprise a complex geometric form. The point, at its extreme, can be the highest or most protruding characteristic of a form or it can be the most inward characteristic of a form.

Front 95

When two non-parallel planes are joined together along a conceptual line, 'this' is produced. These edges may be projected outward or inward.

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edge

Front 96

A conceptual plane which is physically present. Its presence manifests a surface/are external surfaces that enclose a volume.

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face

Front 97

A horizontal support for a physical object.

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base

Front 98

The point at which part of a structure is formed or where two elements of a structure meet.

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joint

Front 99

A model (at small scale) for a larger sculpture. A well-developed, three –dimensional model. Comparable to a two-dimensional thumbnail sketch.

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Maquette

Front 100

A three-dimensional sketch

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Model (noun)

Front 101

To manipulate and form a plastic material such as clay.

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Model (verb)

Front 102

The relationship of an object to the ground plane and to other objects in its vicinity.

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Spatial orientation

Front 103

An orthographic projection, the front, back and side views of an object or architectural structure.

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Elevation

Front 104

A three-dimensional object that is self-supporting and is designed to be viewed from all sides, as in freestanding sculpture.

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In the Round

Front 105

Form that is both material and substantive. Form that physically occupies space.

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Explicit Form

Front 106

Form that is immaterial, but whose presence is implied by the interaction of surrounding material.

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Implicit Form