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11   the conceptual elements
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  • 1. Visual Imagination
  • 2. The cognitive process, as we discussed earlier, involves the decoding of the perceptual code. What that code is, is at this time, an unknown. But it is known that a code, in fact does exist, and that cognition largely occurs due to a process of association. This means that the secondary visual cortex can associate the new code with old, already decoded, information.
  • 3. Cognition occurs, when a meaningful association occurs. (Meaningful, here, refers to an “Aha! Moment”; something other than vague.) Let us look at an example at how this might occur.
  • 4. Recognize this image?
  • 5. With more information is it any clearer?
  • 6. How about now?
  • 7. These associations, which are, no more than, “intelligent guesses”, are, also, responsible for cognitive errors such as: expectancy effect, the halo effect, selective observation, contrast effect, projection and stereotyping.
  • 8. It is, clearly, to our advantage to analyze incoming data thoroughly, before we commit to association. In the scene shop, carpenters call it, the “measure twice-cut once” principle.”
  • 9. We are often called upon, or, perhaps, have an urgent need to represent our thoughts in some visual way. This may be through physical expression or symbol. A gesture is a form of non-verbal communication used to convey signals that have some universal value. We are all familiar with physical gestures. Actors employ them all the time. Other types of symbolic gestures are represented in another mediums,such as paper for example.
  • 10. A gesture drawing, and a wire gesture sculpture.
  • 11. These symbolic gestures are represented by primitive structures, mostly, what we understand, as points and lines. Some of our simplest symbolic representations, in general , also, tend to be expressed as lines. Letters, numbers, even universal symbols are often little more than lines. Olympic sports symbols Choreographic notation - dance
  • 12. When attempting to communicate through visual means, we rely on these primitive constructs or “primitives” to carry our meaning. Before we make these ideas visible, it is traditional, to imagine them first. Since, we’ve already talked about imagination, hopefully, it won’t be difficult to understand these conceptual elements of design.
  • 13. The conceptual elements are neither visible nor perceived. They are, rather, imagined or conceived. The conceptual elements are instrumental to the visualization of design. Although abstract in nature, the conceptual elements have their most practical application in mathematics and physics, but they have also made significant inroads into the arts, including theatre
  • 14. There are five (4) conceptual elements of design.  Point  Line  Plane  Volume
  • 15. Conceptual space Conceptual space is a condition in which imagination is possible.  It has no length, width or height.  In neither moves nor is stationary.  It has no direction nor position.
  • 16. Conceptual point A conceptual point represents position in space.  Point has no length, width or height.  It does not occupy space  It is the beginning and end of every conceptual line segment.  It is where a conceptual loop, or two conceptual lines meet.
  • 17. Representation of a point Representation of a point Representation of a point
  • 18. A point in motion forms a line.
  • 19. A point in motion forms a line.
  • 20. Conceptual Line A conceptual line is a path created by a conceptual point in motion.  A conceptual line has length and direction, but has no width or height.  A conceptual line has direction and position.  A conceptual line is bound by points.  A conceptual line forms the boundaries of a plane.
  • 21. INTRINSIC DIRECTION NON-INTRINSIC DIRECTION A line moving in it’s non intrinsic direction forms a plane.
  • 22. Conceptual Plane  A conceptual plane has length and width but no thickness.  It has position and direction.  It is bound by lines.  It defines the external form of a volume.  It marks the location of a loop or where two lines intersect..
  • 23. A plane traveling in its non-intrinsic direction forms a volume
  • 24. Conceptual Volume  Conceptual volume has position in space and is bound by planes.  It has length, width and height but no weight.  It defines the exact amount of space it encompasses.
  • 25. The conceptual elements may be represented in two and three dimensional design. Once the conceptual elements are represented in visual terms they become visual elements and are, then, defined differently.