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| a line used to follow the edges of forms describing their outlines |
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| a line that describing their outlines |
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| a visual element of length; it can be created by setting a point in motion |
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| position a series of points so the eye will connect them; ex) - - - - |
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| a mental connection between two points or elements; occurs when a figure is pointing or looking in a certain direction which causes the eye to follow toward the intended focus |
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| type of line that portrays movement, action, mass; it stays away from the edges of a subject and tries to portray what the subject is doing, as opposed to what it looks like |
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| parallel lines in a crisscross pattern to create shades of gray |
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| a description of a form in which and object is revealed by distinct contours in some areas while other edges simply vanish or dissolve |
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| a measure of relative lightness and darkness |
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| black, gray, or white with no distinctive hues; no color is used |
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| relating to the hue or saturation of color |
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| relationship between areas of dark and light |
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| contrast would be between 50%-60% on value scale |
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| contrast would be between 20%-90% |
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| arrangement and amount of variation in light and dark values independent of any colors used |
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| limited value range with subtle variation- limited to lights |
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| limited value range with subtle variation- limited to dark |
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| artistic device of using lights and darks to imply depth and volume (italian term meaning clear and obsure) |
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| (pencil, charcoal, chair conte crayon) blend the media to create a continuous tone value |
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| (crosshatching and stippling) the placement and density of marks and create value |
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| mix ink and water to create shades of gray |
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| dots of various sizes to create visual grays |
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| a traditionally and visually understood method for presenting a 3D impression on flat surface |
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| spatial system, as parallel lines recede they appear to converge and meet on an imaginary horizon line (eye level) |
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| where receding parallel lines converge at horizon line |
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| a single point is placed on the horizon line; all the lines of objects at right angles to the canvas plane angle off toward that point |
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| no objects are parallel to the picture plane and all edges recede to two points on the horizon |
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| a variety of angles are present, different objects have seperate sets of vanishing points of they are not parallel to each other |
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| dramatic and eye-catching; an item is pointed directly at you |
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| looking at the figure or object from more then one vantage point- several different views are combined in one image- more subjective and conceptual views of forms |
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| spatial convention where lines remain parallel and do not converge, seen in eastern art used in mechanical and engeneering drawing |
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| a complete scene contained within the plane; eyes are not led outside of the frame (frames a border around the perimeter that visually turns the eye inward creating a closed form) |
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| a partial glimpse of a portion of a scene that continues beyond the format |
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| purposeful ambiguity, not a clear spatial pattern |
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| two forms overlap and both are seen completely; unclear what is in front and what is in back |
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| refers to the internal parts of a form that support and define its appearance and contribute to conveying its message |
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| perfect rectangle; ideal proportions (seen in Greek ways) |
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| proportions of the golden rectangle; width is to length, as lengh is to length plus width |
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| relative size; measured against other elements or some mental norm (can be used to create focal point) |
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| creates 3D space in a 2D surface |
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| the frontal plane of a composition |
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| the frontal plane of a composition |
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| things that appear closer to us appear larger; things become smaller as they recede in space |
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| place object on top of one another to create depth |
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| elevating an element on the page often indicates a recession in depth |
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| eye- level, the farthest point we can see where the sky and ground become indistinct |
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| the use of color or value to show depth; also called atmospheric perspective; less distinction between colors and valuesis they appear farther away, thing blend to the background |
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| the use of relative size to show importance (not space, thematic importance) |
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| symbols that stand for an idea are not phonetic repesent actions of a spoken language (chinese caligraphy) |
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| that which is created with basic components (elements and priciples of design) as well as symbols, letters, and photographs |
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| using components, objects, or images as codes or sues to express intangible, complex, or multiple meanings; decede using analysis and interpretation |
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| a way of revealing deeper meaning and understanding or complex or absract concepts; form can take a meaning beyond its primary or literal appearance |
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| presents information for the purpose of gaining or maintaing power and centered, distorted view of reality; wartime and politics |
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| encourages people to change attitudes; can also inform or enlighten, not necessarily negative |
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| cut and paste photographs, juxtapose images |
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| earth sculpture; earth sites; artwork created by altering a large area of land using organic/ earth materials (spiral in lake, great salt lake UT) |
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