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| The real thing, a surface that can be experienced through the sense of touch. |
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| A convincing copy or translation of an object’s texture in any medium. |
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| A texture derived from the appearance of an actual surface but rearranged and/ or simplified by the artist to satisfy the demands of the artwork. |
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| Literally, “deceives the eye”; the copying of nature with such exactitude as to be mistaken for the real thing. |
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| A visual and tactile technique in which scraps of paper having various textures are pasted to the picture surface to enrich of embellish those areas. The printing of text of images on those scraps can provide further visual richness or decorative pattern. |
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| A technique of picturemaking in which real materials possessing actual textures are attached to the picture plane surface, often in combination with painted or drawn passages. |
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| A technique that involves grouping found or created three-dimensional objects which are often displayed "in situ"- that is, in a natural position of in the middle of a room rather than on a wall. |
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| 1. Any artistic design (sometimes serving as a model for imitation). 2. A repearting element and/or design that can produce a new set of characteristics or organization |
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| The illusion of depth produced in graphic works by lightening values, softening details and textures, reducing value contrasts, and neutralizing colors in objects as they recede. |
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| A quality that refers to the sense of touch. |
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| The intrinsic character of a painting medium-thickness, glossiness, and so forth-which can enrich a surface through its own textural interest. |
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| The surface character of a material that can be experienced through touch or the illusion of touch. Texture is produced by natural forces or through an artist's manipulation of the art elements. |
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| Three colors equally spaced on the color wheel, forming an equilateral triangle. The twelve-step color wheel is made up of a primary triad, a secondary triad, and two intermediate triads. |
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| Four colors, equally spaced on the color wheel, containing a primary and its complement and a complementary pair of intermediates. Forms a rectangle that could include a double split complement. |
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| Primary Colors (Primary Triad) |
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A preliminary hue that cannot be brolen down or reduced into component colors. Primary colors are the basic hues of any color system that, in theory, may be used to mix all other colors.
Red yellow and blue |
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| Secondary Colors (Secondary Triad) |
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| A color produced by a mixture of two primary colors. Orange Green and Violet |
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| A color produced by a mixture of a primary and a secondary color. red-orange/yellow-green/blue-violet and red-violet/blue-green/yellow-orange |
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| Two colors directly opposite deach other on the color wheel. A primary color is complementary to a secondary color, which is a mixture of the two remaining primaries. |
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| A color and the two colors on either side of its complement |
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| Color created by superimposing light rays. Adding together (or superimposing) the three primary colors of light -red, blue, and green- will produce white. The secondaries are cyan, yellow, and magenta. |
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| The sensation of color that is produced when wavelengths of light are reflected back to the viewer after all other wavelengths have been subtracted and/or absorbed. |
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| A color substance that gives its color property to another material by being mixed with it or covering it. Pigments, usualy insoluble, are added to liquid vehicles to produce paint and ink. They are different from dyes, which are dissolved in liquids and give their coloring effects by staining or being absorbed by a material. |
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| 1. the inclusion of all color wavelengths will produce white, and the absence of any wavelengths will be perceived as black. With neutrals, no single color is noticed-only a sense of light and dark or the range from white through gray to black. 2. A coor altered by the addition of its complement so that the original sensation of hue is lost or grayed. |
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| Relating to color perceived only in terms of neutral grays from light to dark; without hue. |
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| Pertaining to the presence of color |
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| Having only one hue; may include the complete range of value from white to black |
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| Colors that are closely related in hue. They are usually adjacent to each other on the color wheel. |
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| The generic name of a color (red, blue, green, etc.); also designates a color's position in the spectrum or on the color wheel. Hue is determined by the specific wavelength of the color in a ray of light. |
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| The value (relative degree of lightness or darkness) demonstrated by a given color. |
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| The saturation, strength, or purity of a hue. A vivid color is of high intensity; a dull color is of low intensity. |
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| A generic term for the quality of a color, often indicating a slight modification in hue, value, or intensity-for example, yellow with a greenish tone. |
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| A color produced by mixing white with a hue, which raises the value level and increases the quantity of light reflected. |
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| A color produced by mixing black with a hue, which lowers the value level and decreases the quantity of light reflected. |
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| Any graphic system used to create the illusion of three dimensional images and/or spatial relationships in which the objects or their parts appear to diminish as they recede into the distance. |
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| tHE TWO-DIMENSIONAL NATURE OF AN ARTWORK OR ANY OF ITS ELEMENTS (SHAPE, SPACE, VALUE, ETC.) dECORATIVE ART AND/OR ITS ELEMENTS EMPHASIZE THE ESSENTIAL FLATNESS OF A SURFACE. 2. Has generally referred to the ornamentation or enrichment of a surface. |
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| 1. Three-Dimensional art forms such as architecture, sculpture, and ceramics. 2. The use of the elements (shape, space, value, etc.) to create the illusion of volume and space-the third dimension-on a two-dimensional surface. |
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| A concept in which the picture frame acts as a window through which objects can be seen receding endlessly. |
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| The illusion of depth produced in graphic works by lightening values, softening details and textures, reducing value contrasts, and neutralizing colors in objects as they recede. |
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| Sharp and Diminishing detail (Spatial indicators) |
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| Close objects are in sharp detail, while objects that appear to be farther away from the viewer are seen to be blurry. |
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| Size (Spatial Indicators) |
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| Objects farther away appear to be smaller than the larger objects that are close to us. |
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| Position (Spatial Indicators) |
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| The position of objects is based on the horizon line which is assumed to be at the viewers eye level. |
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| Overlapping (Spatial Indicators) |
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| By overlapping one object over the other the top one is assumed to be closer. |
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| Transparency (Spatial Indicators) |
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| If a portion is visible through the overlapping plane or object. |
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| Interpenetration (Spatial Indicators) |
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| Occurs when planes or objects appear to pass through each other, emerging on the other side. |
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| Linear Perspective (Spatial Indicators) |
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| Is a system for accurately representing sizes and distances of known objects in a unified visual space. |
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| One-Point (Types of Linear Perspective) |
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| Is used when the artist views a flat surface or facing plane directly, or front-on. This flat plane will be drawn parallel to the picture plane and the horizon line. |
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| Two-Point (Types of linear perspective) |
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| Is most often employed when the artist views a leading edge instead of a flat plane. |
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| Three-Point (Types of linear perspective) |
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| Is used when an artist views an object from an exaggerated position, such as lying on the ground and looking up at a tree or looking down from a skyscraper. |
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| The illusion of space tha the artist creates by instinctively manipulating certain space-producing devices, including overlapping, transparency, interpenetration, inclined planes, disproportionate scale, fractional representation, and the inherent spatial properties of the art elements. |
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| A condition in which the positive figure and the negative background seem to reverse roles, fluctuating back and forth between the two functions to create an ambiguous sense of space. Structured ambiguity is often employed as a transition between contrasting alues or colors and is a valuable tool for creating optical illusions, denying space, and blending an image into its background. |
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| A condition, usually intentional on the artist's part, in which the viewer may, at different times, see more than one set of relationships between art elements or depicted objects. This may be compared to the familiar "optical illusion" |
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| Bas Relief (Relief Sculpture) |
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| An artwork, graphic in concept but sculptural in application, that utilizes relatively shallow depth to establish images. The space development may range from very limited projection, known as "low relief", to more exaggerated space development, known as "high relief." Relief sculpture is meant to be viewed frontally, not in the round |
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| 1. An area lacking positive substance and consisting of negative space. 2. A spatial area within an object that penetrates and passes through it. |
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| An imaginative treatment of forms that gives a sense of intervals of time or motion. |
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| The process of moving, or changing place or position in space. |
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| A system or way of measuring the interval between events or experiences |
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| The rapid succession of a sequence of drawings, computer-generated images, or pictures of objects such as clay figures that create the illusion of a moving image. |
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| A recording of visual images that are stored in an electronic format and viewed on a television, computer monitor, or projection screen. |
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| From the greek word Kinesis, meaning "motion"; art that involves an element of random or mechanical movement. |
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| The sense of illusion of movement given to a static object. |
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| The combination of many different groups of media such as text, still and moving graphics, and spoken and instrumental sounds; also often integrated with communication technologies involving television, video, telephones, and computers. |
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| A photographic technique that shows a figure in motion by displaying a rapid series of exposures within the same image. |
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| A cinemaic technique in which the subject fills the camera frame; used to focus the viewer's attention on specific imagery or detail. |
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| A technique in which various views of the same subject are placed on top of each other in the same image. |
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| One Frame from a series of frames normally seen in a film or video presentation that when viewed in sequence present the illusion of a moving picture. Related to Cell. |
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| The Movement found in art forms like kinetic art, where bodies physically change their location during a period of time. |
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