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| Referring to art which simplifies, emphasizes, or distorts qualities of a real life image, often in order to present the essence of that image. |
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| To stress, single out as important. |
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| To connect or juxtapose forms and shapes logically. |
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| Quality of stability and equilibrium controlled by location and emphasis of major parts of a design. |
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| A 3D form that is raised from a 2D surface. |
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| The arrangement or structuring of various elements. |
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| A line determining the limits of an area. |
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| Referring to the relationship between foreground objects or elements as figure, and the background field or surrounding space as ground. It implies a compositional balance of positive and negative, though the areas may not be equal. |
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| The primary area or point within a composition to which the eye is drawn. |
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| The volume and shape of an object; the overall physical aspects of a work as opposed to its content. |
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| Background or surface upon which marks or shapes are created. |
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| Adjacent placement of visual elements. |
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| The overall range of lights and darks in an image or object. |
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| Sir Isaac Newton discovered what about light? |
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| Color is a property of light (he put white light through a prism). |
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| "Colors are the children of light, and light is their mother." |
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| The fundamental colors, from which all other colors can theoretically be mixed - Red, Yellow Blue. |
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| Colors made by combining two primary colors - Orange (Red and Yellow), Green (Yellow and Blue), Violet (Blue and Red). |
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| Colors created by mixing a primary color and an adjacent secondary color - Red-Orange, Yellow-Orange, Yellow-Green, Blue-Green, Blue-Violet, Red-Violet. |
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| Colors that are opposite each other on the color wheel - Red and Green, Yellow and Violet, Blue and Orange. When combined, complementary colors theoretically produce gray. |
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| The redness, yellowness, or blueness of the color. |
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| The intensity of the color (ie., How much or how little gray it contains). |
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| The lightness or darkness of a color (ie., The amount of white or black in it). Adding white creates a Tint, adding black creates a Shade. |
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| Color mixing in light, where each additional color increases light energy, and all the combined colors give white light. |
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| Hues lying adjacent on the color wheel, often used together in color schemes. |
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| The interaction of areas dissimilar in color, value, shape, texture, size, etc. |
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| Those colors in the green, blue and purple range. |
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| A color scheme utilizing black, white, and one color. |
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| The natural color of an object or material. |
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| Color scheme developed from tints and shades of a single hue. |
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| Color of a very low saturation, approaching gray. |
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| Having the property of blocking all light. |
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| Colors that occur as a result of visual perception, as along the contact line where two contrasting hues are juxtaposed. |
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| A powdered colorant that is the coloring ingredient for paint and other color media. |
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| Polychrome, Polychromatic |
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| The measure of brightness or intensity in a color. |
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| Exaggerated visual contrast resulting when two highly contrasting colors are juxtaposed. |
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| Creating color with pigments, where added pigment results in a darker value, subtracting from reflective light. All colors combined create black. |
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| A color scheme utilizing black, white, and two colors. |
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| Those colors in the red, orange, and yellow range. |
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| Cyan, Magnenta, Yellow, Black. This is a subtractive color model used in color printing. |
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| Red, Green, Blue. This is an additive color model used to create a broad array of colors in liquid crystal displays (LCDs), cathode ray tubes (TVs), and high definition televisions (HDTVs). |
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| The act of adjusting to a line; arrangement in a line or lines; the state of being so adjusted; a formation in a straight line; also, the line of adjustment; esp., an imaginary line. |
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| Anthropomorphic Proportions |
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| Of or relating to the measurements of the human body. |
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| To connect or juxtapose shapes or forms logically. |
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| When one side of a composition does not reflect the design of the other. |
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| Balance achieved by different visual elements which command similar visual emphasis. |
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| Any level surface, line, or point used as a reference for the positioning or arrangement of elements design. |
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| Characterized by juxtaposition of planes. |
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| The element of form which can be described in two dimensions, predominantly characterized by surface. |
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| The use of existing imagery not created by the artist in order to communicate a new idea. |
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| A 3D artwork made from found objects. |
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| Shapes and forms associated with those found in nature. |
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| Deletion of nonessential details to reveal the essence of a form. |
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| Having the property of resemblance to an identifiable object, idea, or emotion. |
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| A Horizontal member within a building's structure whose primary purpose is to carry transverse loads. |
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| An element within a structure that projects beyond is supporting wall or column. |
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| A relatively long, slender structural compression member that is placed vertically, supporting a load which acts in or near the direction of its longitudinal axis. |
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| An inclined structural member in compression and/or tension; usually employed to stabilize a frame against horizontal forces such as win, etc. |
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| The elements within a structural system that transmit the load to the earth or rock, usually below ground level. |
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| A large or principal beam used to support concentrated loads at isolated points along its length. |
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| That which is caused by a horizontal force such as wind or earthquake. |
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| Live loads are those which are created by movable elements within and forces applied to a structure; dead loads are those which are part of the building itself. |
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| A force or system of forces carried by a structure. |
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| A structural frame which resists loads and forces by a stiffening of the connections between its members. |
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| A structural plane which resists loads and forces. |
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