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| on three-dimensional objects, the shape edge or ridge formed by two surfaces meeting at an angle. Made visible by cast shadow, it is often interpreted as a line. |
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| Lines that are generally flowing and rhythmical, like the qualities found in the kind of writing called calligraphy. |
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| In art, the line that defines the outermost limits of an object or a drawn or painted shape. It is sometimes considered to synonymous with outline; as such, it indicates an edge that also may be defined by the extremities of dark, light, texture, or color. |
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| A line that moves across a shape or object to define the surface undulations between the outermost edges. |
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1. The manifestation through artistic form of a thought, emotion, or quality of meaning.
2. In art, expression is synonymous with the word content. |
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| Lines that are drawn freely, quickly, and seemingly without inhibition in order to capture the intrinsic spirit and animation seen in the subject. Gestural liens can imply the past, present, and future motion of the subject. |
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| Repeated strokes of an art tool, producing clustered (usually parallel) lines that create values. In cross-hatching,similar lines pass over the hatched lines in a different direction, usually resulting in darker values. |
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| A line that dims, fades, stops, and/or disappears. The missing portion of the line is implied to continue and is visually completed by the observer as the line reappears. Also known as a subjective line. |
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| The path of a moving point made by a tool, instrument, or medium as it moves across an area. A line is usually made visible because it contrasts in value with its surroundings. Three-dimensional lines may be made using string, wire, tubes, solid rods, and the like. |
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| A positive area with clearly defined boundaries (as opposed to an implied shape). |
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| A shape without clear definition; formless, indistinct, and of uncertain dimension. |
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| An irregular shape that resembles the freely developed curves found in living organisms. |
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| The name given to the painting style invented by Pablo Picasso and Georges Braque between 1907-1912, which uses multiple views of objects to create the effect of three-dimensionality while acknowledging the two-dimensional surface of the picture plane. Signaling th beginning of abstract art, Cubism, is a semi-abstract style that continued the strong trend away from the representational art initiated by Cezanne in the late 1800s |
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| A shape whose boundaries consist of predominately curved lines; the opposite of rectilinear. |
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| Ornamenting or enriching but, more importantly in art, stressing the two-dimensional nature of an artwork or any of its elements. Decorative art emphasizes the essential flatness of a surface. |
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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 the familiar 'optical illusion'. |
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| A shape that appears related to geometry, usually simple, such as a triangle, rectangle, or circle. |
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| A shape that does not physically exist but is suggested through the psychological connection of dots, lines, areas, or their edges. |
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| From the Greek word kinesis, meaning motion art that includes the element of actual movement. |
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| 1. In graphic art, a shape that appears to stand out three-dimensionally from the space surrounding it or creates the illusion of a solid body of material. 2. In the plastic arts, a physical bulk of material. |
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| That which is based, as closely as possible, on physical actuality or optical perception. Such art tends to appear natural or real; the opposite of subjective. |
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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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| Having to do with planes; shapes that have height and width but no indication of thickness. |
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1. An area that is essentially two-dimensional, having height and width.
2. A two-dimensional pictorial surface that can support the illusion of advancing or receding elements.
3. A flat sculptural surface. |
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1. element(s) used in such a manner as to create the illusion of the third dimension on a two-dimensional surface.
2. Three-dimensional art forms, such as architecture, sculpture and ceramics. |
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| A shape whose boundaries consist of straight lines; the opposite of curvilinear. |
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| An area that stands out from its surroundings because of a defined or implied boundary or because of differences of value, color, or texture. |
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| The area between or bounded by the contours, or edges, of an object; the total shape. |
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| That which is derived from the mind, instead of physical reality, and reflects a personal bias, emotion, or innovative interpretation; the opposite of objective. |
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| A style of artistic expression, influenced by Freudian psychology, that emphasizes fantasy and whose subjects are usually experiences revealed by the subconscious mind through the use of automatic techniques (rubbings, doodles, blots, cloud patterns, etc.). Originally a literary movement that grew out of Dadaism, Surrealism was established by a literary manifesto written by Andre' Breton in 1924. |
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| Possesses, or creates the illusion of possessing, the dimensions of depth, height, and width. In the graphic arts, the feeling of depth is an illusion, while in the plastic arts, the work has actual depth. |
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| Possesses the dimensions of height and width, especially when considering a flat surface or picture plane. |
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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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| A measurable amount of defined, three dimensional space |
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| Elegant, decorative writing |
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