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| The visual expression of an idea or experience, formed with skill through use of a medium. |
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| A particular material, along with its accompanying technique. |
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| The ability to bring forth something new that has value. |
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| People with little to no art education who make art |
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| Basic means for recording and symbolizing ideas, observations, and feelings. An extension of a point. |
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| These lines suggest visual connections. they usually form geometric shapes as an underlying organizational structure. |
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| The expanse within the outline of a two dimensional area, or within the boundaries of a three dimensional object |
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| circles, triangles, and squares. Shapes that a regular and precise. |
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| Any irregular, non-geometric shape. A shape that resembles any living matter. |
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| A shape or work of art that resembles a living organism or organic shape. Shapes based on natural forms |
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| the two-dimensional picture surface. |
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| A dominant foreground shape |
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| A phenomenon in which positive shapes become negative shapes and vice versa |
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| Physical bulk of a solid body |
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| A self-contained or limited form showing permanence. It doesn't interact with its surroundings |
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| A form who's exterior is broken and reaches out, interacting with the surrounding space |
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| The General receptacle of all things. The empty space around us. |
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| Perspective based on parallel lines converging and objects appearing smaller as the distance between them and the viewer increases. |
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| The actual or implied line representing where the sky meets the horizontal land or water plane. |
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| The presumed height of the artist's eyes, and where the viewer's eyes will be on the finished work. |
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| The position from which the viewer looks at an object or visual field |
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| All parallel lines converge at a single vanishing point. |
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| Atmospheric/aerial perspective |
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| Perspective that creates the illusion of distance by changing color, value, and detail without converging parallel lines |
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| A means by which an artist creates a sense of movement in a work of art. |
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| A work of art that actually moves intended by the artist. |
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| Radiant energy that makes things visible. Sunlight contains all the colors of the electromagnetic spectrum |
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| Value (sometimes called tone) |
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| The relative lightness or darkness of surfaces. |
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| Shading from light to dark to create the illusion of roundness. Used by Annibale Carracci |
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| A component of light that modifies our thoughts, moods, actions, and health |
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| Colors that aren't associated with any other hue. Consists of black, white, and gray |
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| A particular wavelength of spectral color from light. Examples: green, yellow |
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| The relative purity of a hue ranging from bright to dull. |
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| Pigment hues that can't be produced by mixing other hues. Consist of red, yellow, and blue |
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| A hue created from mixing two primary hues. These hues are placed between the two hues that were mixed. Consists of orange, green, and violet. |
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| A hue created by mixing a primary and secondary hue. Examples: red-orange, yellow-orange |
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| Colors whose visual temperatures seem warm. Examples: red-violet, red, red-orange |
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| Colors whose visual temperatures make them seem cool. Examples: green, blue, blue-green |
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| A color scheme limited to the variations of only one hue |
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| Color scheme based on colors adjacent to one another on the color wheel. |
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| Color scheme that emphasizes two hues directly opposite each other on the color wheel. |
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| Art in which the artist's intention is to represent a specific object. |
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| Art in which the human form is the primary subject. |
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| The objects represented in Representational art |
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| A two-dimentional representational that is so naturalistic that it looks actual or real. French for "Fool the Eye" |
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| Works of art that depict natural objects in distorted or exaggerated ways |
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| Nonrepresentational/Nonobjective art |
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| Art that wasn't meant to represent anything outside itself. |
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| The total physical characteristics of an object or event. What we see. |
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| Meaning or message communicated through a work of art. The meaning we get from what we see |
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| The symbolic meaning of signs, subjects, and images. |
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| the size of an object in relation to other objects and things. |
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| The combining of parts or elements to form a whole. |
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| The process of organizing visual elements to form a finished work. |
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| The appearance or condition of oneness. the feeling that all the elements in a work belong together and form a whole. |
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| Diverse elements in a work of art. Opposite of Unity |
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| The achievement of equilibrium. Acting influences are held in check by opposing forces. |
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| The near or exact matching of left and right sides pf a three-dimensional form or a two-dimensional composition. |
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| A work of art in which left and right sides don't match, but various elements are balanced according to size and meaning |
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| A method an artist uses to draw viewers attention to a certain area. |
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| A specific area of emphasis in a work of art. |
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| Technique by which an artist creates neutral areas of lesser interest to keep viewers from being distracted from areas of emphasis. |
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| Paths for the eyes to follow provided by actual or implied lines. |
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| the juxtaposition of strongly dissimilar elements. Can provide visual interest or emphasize a point |
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| Repetitive usage of visual elements that creates unity, continuity, flow, and emphasis. |
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| Movement or structure of dominant and subordinate elements in sequence. |
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| the size relationship of parts to a whole |
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| Refers to the size and shape (scale and proportion) of a picture plane |
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| A full-sized drawing made as a guide for a large work in another medium, particularly fresco painting, tapestry, or mosaic. |
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| A technique in which lines are placed parallel in order to suggest shadows or volumes in certain areas |
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| Quality of roughness or surface grain that gives texture to a drawing |
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| A liquid varnish sprayed over charcoal or pastel drawings to prevent smudging |
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| A story written and told through sequential art. |
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| Sequential art form based on drawings |
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| A drawing utensil made of graphite and mixed with clay that resists smudging much better than charcoal. |
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| Drawing utensil that has characteristics similar to that of pastels. usually comes in red, white, and black |
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| Dry drawing medium made of dry charred twigs |
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| Italian for light dark. The gradations of light and dark that create an illusion of three-dimensional form. |
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| Sticks of powdered pigment held together by a gum binding agent. |
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| A powdered coloring agent used in drawing materials. |
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| A sticky substance that holds the pigment together and attaches it to the surface |
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| It makes the paint a liquid which can be added to the paint for thinning |
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| Physical material that provides the base for and supports a two-dimensional drawing plane. |
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| Substances made from liquid clay, glue, or wax that limits a supports absorptive qualities |
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| a primary layer of paint added to a surface that needs to be painted to make it uniform |
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| A mixture of glue and chalk thinned with water and applied as a ground before using oil or egg tempura |
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| The surface that paint is applied which constitutes of the sizing and primer |
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| Paint that uses water as the vehicle and gum arabic as the binder. This technique uses the paint as thin washes which allows light to pass through the color and reflect back from the paper. |
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| Opaque watercolor that has bits of chalk mixed in as a vehicle. |
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| A water-based paint that uses egg yolk as a binder |
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| A type of painting by which pigment are suspsended in a binder of hot wax |
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| A medium that is popularly mixed with pigments |
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| A very thin layer of transparent film added over a previously painted surface. Glaze gives depth to painted surfaces by allowing light to pass through lower paint layers. |
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| Thick paint added to a surface in a heavy manner |
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| A clear synthetic resin used as a binder in acrylic paint. In acrylic paint, the binder is acrylic polymer while the vehicle is water |
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| buon fresco (True Fresco) |
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| An ancient wall painting technique that uses pigments suspended in water that are applied to a damp lime-plaster surface |
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| fresco secco (Dry fresco) |
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| Ancient wall-painting method used pigments are applied on dried, finished lime-plaster walls |
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| A multiple work of art, and a series of nearly identical pieces usually done on paper |
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| A trial print that's usually made to check an artist's work. the artist marks the work as AP |
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| Process in which the artist cuts away surfaces that aren't meant to carry ink. the left over surface is then inked which is transferred to paper. |
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| a type of relief print done on a plank or piece of soft wood. the artist carves away the negative space. |
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| A relief process by which the artist carves away negative space along a linoleum surface. Linoleum is softer than wood and can be cut with ease. |
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| Italian for "to cut into". the opposite of relief, in which ink is applied to areas below the surface. |
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| An intaglio printmaking process in which the artist cuts lines into the polished surface of a metal plate |
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| An intaglio printmaking process in which a metal plate is first coated with acid resistant wax, then scratched to expose the metal to nitric acid where lines are desired |
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| A tool used for engraving |
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| Printmaking technique based on the antipathy of oil and water. It involves no cutting and the image is drawn with a tusche, and is afterwards chemically treated. |
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| A waxy liquid used to draw images in lithography |
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| screenprinting/silkscreen |
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| Printmaking technique in which stencils are applied to fabric stretched across a frame. Then paint or ink is forced with a squeegee onto paper beneath. |
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| means "light writing". Capturing images through a medium in order to create expression through art. |
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| means "dark room". a dark room with a small hole in which an image would show through the hole inverted on the wall. the artist would then trace the image. |
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| Photographic process created by Louis Daguerre. A metal plate was treated, and exposed to light to create photographs |
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| the brief retention of an image by the retina of our eyes after a stimulus is removed |
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| Each piece of film photographed in a continuous running of a camera and compiled together into scenes and movies |
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| Process by which an editor selects the best shots, then reassembles them into meaningful sequences and one final product |
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| Introduced by D.W. Griffith, it's the editing process by which a number of shots that are distinct but also related are combined to create relationships, emotion, and time passage |
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| Filming technique in which actors' actions are screened and digitized and used to create alternate versions and chracters |
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| Art created through video works recorded on cassettes. |
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| the process of working with words and pictures to enhance visual communication |
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| An identifying mark based on letter forms combined with pictorial elements. |
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| The art and technique composing printed material from letterforms. |
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| Sculpture meant to be seen from all sides |
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| sculpture that is not freestanding but projects from a background surface |
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| Sculpture in which the projection from the surrounding surface is slight, so shadows are few. Example: coins |
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| Sculpture in which more than half of the natural circumference of the modeled form projects from the surface |
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| Pliable material like clay and wax is built up, removed, and pushed into a final form. additive process |
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| adding or building up material from a core |
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| A rigid framework serving as a supporting inner core for clay or other soft sculpting material. prevents sagging. |
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| A substitution process in which molten metal is poured into a mold cavity. When it hardens after being heated, the mold is removed and the shape of the mold is left from the once liquid metal |
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| A casting method in which a wax model is encased in clay or plaster. When the clay is fired, the wax melts away and makes a void that can be filled with molten metal or other things |
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| Subtractive process by which material is carved out from a block of mass using sharp tools |
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| Process that takes away something from a medium |
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| assembled sculpture/constructions |
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| Creating a work or sculpture from pieces already created by the artist |
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| Sculpture created by combining cast-off materials that may not show their true identities to the total work content |
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| A type of sculpture in which parts move |
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| Works of art made with more than one medium |
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| a space that an artist transforms by using items of symbolic significance. The entire room is seen as the artwork to be manipulated |
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| installations only intended for particular locations |
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| Stones cut or shaped before use |
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| post and beam (post and lintel) |
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| A structure type in which vertical columns support horizontal beams and carry the structures weight |
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| A row of columns spanned or connected by beams |
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| A curved structure designed to span an opening |
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| A curving roof or ceiling based on the arch |
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| A hemispherical roof or vault |
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| A stone at the highest point of a round arch that holds the arch in place |
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| a series of archs supported by columns |
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| A material for architecture made of water, sand, gravel, and a binder of gypsum or lime. |
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| A pointed tower outside a mosque |
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| A support that that juts out from a wall's exterior opposes the lateral forces of these structures |
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