| Term 
 | Definition 
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        | Term 
 | Definition 
 
        | Creates figure ground relationship |  | 
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        | Term 
 | Definition 
 
        | actual and implied lines which can act as a basis for design |  | 
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        | Term 
 | Definition 
 
        | 1. Actual Lines 2. The edge between to contrasted areas of value
 3. The centers of shapes or volumes
 4. Continuations (Gestault Principle)
 5. Eye Lines (The projected direction of a figure's gaze within a composition)
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        | Term 
 | Definition 
 
        | 1. Rigid 2. Implied
 3. Radial
 4. Related Diagonals
 5. Organic
 6. Organic and rigid
 7. Related Curves
 8. Triangle
 9. Diamond
 10. Circle
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        | Term 
 | Definition 
 
        | Only uses Horizontal and vertical lines to define structure |  | 
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        | Term 
 | Definition 
 
        | when subject matter creates implied lines in a grid structure form |  | 
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        | Term 
 | Definition 
 
        | depends on contours of curved objects to create divisions |  | 
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        | Term 
 | Definition 
 
        | depends on natural organic structures to create divisions |  | 
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        | Term 
 
        | Related diagonals structure |  | Definition 
 
        | creates a grid work of diagonal lines (moves the eye) |  | 
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        | Term 
 | Definition 
 
        | actual or implied lines that seem to emanate from a central point |  | 
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        | Term 
 | Definition 
 
        | usually represents madonna and child |  | 
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        | Term 
 | Definition 
 
        | divided into 3 sections (golden section) |  | 
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        | Term 
 
        | figure/ground relationship |  | Definition 
 
        | created by -selective focus
 -lights and darks (contrast)
 -physical proximity
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        | Term 
 | Definition 
 
        | Theory of mind & brain Operational principal of the brain
 - holistic
 -parallel
 -analog
 -self organizing tendencies
 
 the whole is different from the sum of its parts
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        | Term 
 
        | Gestault laws of perceptual organization |  | Definition 
 
        | 1. Law of Proximity 2. Law of Similarity
 3. Law of Closure
 4. Law of Simplicity
 5. Law of Continuation
 6. Law of Segregation
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        | Term 
 | Definition 
 
        | the quality of relating the visual elements of a composition |  | 
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        | Term 
 | Definition 
 
        | differences achieved by adding opposing, contrasting, diversifying or changing elements within a design |  | 
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        | Term 
 | Definition 
 
        | a visual difference that is strong enough to make two distinct elements from eachother |  | 
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        | Term 
 | Definition 
 
        | point/line area/body
 large/small
 hard/soft
 thick/thin
 transparent/opaque
 much/little
 sweet/sour
 horizontal/vertical
 area/line
 smooth/rough
 broad/narrow
 light/heavy
 dark/light
 liquid/solid
 strong/weak
 loud/soft
 plane/volume
 high/low
 long/short
 still/moving
 light/dark
 continuous/intermittent
 straight/curved
 pointed/blunt
 diagonal/circular
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        | Term 
 | Definition 
 
        | actual or alluded surface quality referring to touch |  | 
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        | Term 
 | Definition 
 
        | repetition of elements within a design |  | 
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        | Term 
 | Definition 
 
        | the repetition of a small element to create the visual of texture |  | 
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