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| French term meaning "fine spray"; used to describe prints made with high performance digital inkjet printers |
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| line (as a design element) |
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| fundamental to the expression of movement and mass; contour, calligraphic, & tonal; Greek vase work |
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| process of careful selection and deliberate omission in order to both clarify and define subject matter; used to describe form by flowing around it; not used to simulate nature; straight and angular lines represent the rigidity of walls and floors while curved and rhythmic ones enliven figures |
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| enables the capture of expressive gesture, suggesting feelings and temperament more emotionally; occurs when the artist wishes to convey the beauty of lines as the principal element within a work with little to no regard for representation |
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| enables attention to be placed on surface quality rather than outline through the use of gradations of shading with accents |
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| representation of the shifting variable quantities of light through its presence, intensity, and direction of flow; very useful in monochromatic work |
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| areas of a composition which have been treated in a decorative manner |
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| the artist paints color exactly as he sees it, altering contrast and brightness to imitate natural changes that occur as a result of shadow and light |
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| the artists makes color choices to balance composition, for building vaporous or indeterminate forms , to render sharply defined forms through adjacent/contrasting colors, for decoration, for expressive purposes to convey a mood/emotion/emphasize a season, to arbitrarily/consciously control light and shadow, and/or to replace light and shadow |
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| lines are considered this because although boundaries exist in nature, actual lines do not |
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| used to contain form, control shape, and evoke a sense of mass; can be used to caricature organic structure |
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| used to convey intensity with bold, abrupt lines and smooth, restrained, continuous lines counter intensity |
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| pictorial devices, shapes |
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| can be manipulated to provide clarification of facts not apparently visible or to alter the usual relationship of one _____ to another |
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| blocking figures to study essential volumes or characterize the mass and weight of an object |
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| can be used to convey action or focus purely on narrative in a more simplistic manner than by literal rendition |
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| can be used to fill space or for purely decorative purposes |
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| performed to fit subject matter into a particular space |
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| employed to convey a busy scene (many jumbled shapes/objects) and to enhance contrast within adjacent, similarly-colored areas |
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| can be employed to add a sense of vitality to a scene or to integrate an otherwise unimportant background into its overall artistic meaning |
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| achieved by altering the shape of a figure to emphasize emotional disposition or to point to its interest |
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| a pleasant cohesiveness across the frame; contributing factors include directional lines, color intensity, equal distribution of objects, and proportionate areas alloted |
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| the representation of figures or other elements of identical size which may be nearer or farther from the perspective of the viewer |
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| purposefully rendering figures or other elements out of proportion for artistic affect or emphasis |
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| purposefully eliminating illusions of depth |
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| omission of atmospheric perspective |
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| an artist might employ atmospheric perspective to fade the distinctiveness or color of objects that might normally occur in the distance |
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| can be used to represent a different perspective for the viewer of various elements; particularly useful to render a complex architectural scene |
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| can be employed to reveal what might otherwise be hidden by the limited perspective of a viewer |
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| useful for rendering a highly comprehensible figure |
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| space (as an emotional element) |
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| to dramatize inconsequential "smallness" of figures/objects within/near a massive environment |
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