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| shape derived from a visual source, but transformed so it bears little visual resemblance to that source. |
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| a color (such as black or white) that has NO HUE. |
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| lines which are physically present in a design. |
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the quality of light within an entire space of setting.
ie: when we enter an open courtyard on a sunny summer afternoon, we are surrounded by warm ambient light. Everything we see is colorful and bright. |
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| an obvious break from the norm in a design. |
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| equilibrium among visual elements that do not mirror each other on either side of an axis. |
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| a visual phenomenon in which the atmospheric density progressively increases, hazing over the perceived world as one looks into its depth. Overall definition lessens, details fade, contrasts become muted and, in landscape, a blue mist descends. |
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| a shadow that directly defines a form. |
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| the equal distribution of weight or force among visual units. |
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| derived from the Greek words for beautiful and writing, a flowing, and expressive line that is as personal as handwriting. Calligraphic lines generally vary in thickness and velocity. |
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| a dark shape that results from placement of an opaque object in the path of a light source. |
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| ("light-dark") the gradual transition of values to create the illusion of light and shadow on the 3-D form. |
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| the mind's inclination to connect fragmentary information to produce a completed form. closure is an essential aspect of Gestalt psychology. |
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| an image constructed from visual or verbal fragments initially designed for another purpose. |
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| the combination of multiple parts into a unified or harmonious whole. |
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| the emotional and/or intellectual meaning or message of an artwork. |
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| degree of connection of flow among compositional parts. |
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| a line that describes the edges of a form and suggests 3-D volume. |
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| the degree of difference between compositional parts or between one image and another. contrast is created when two or more forces operate in opposition. |
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| any means by which the strengths and weaknesses of designs are analyzed. |
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the manner in which a section of an image or a fragment of observed reality has been framed.
ie: photographers select a fragment of reality ever time they look through the viewfinder of the camera. part of the scene is included, while the remainder is cut away. photographs are often cropped further in the darkroom, leaving only the most significant information. |
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| multiple lines running over the surface of an object horizontally and/or vertically which describe its surface configuration topographically, as in mapping. this precess is much like wire-framing in 3-D form through tonal variation. |
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| a technique used in drawing and printmaking to shake and object using two or more networks of parallel lines. Darker values are created as the number of networks increases. |
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| a shape whose contour is dominated by curves and flowing lines. |
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1.) the degree to which a shape is distinguished from both the ground area and from other shapes withing the design.
2.) the degree of resolution or focus of an entire image. sharply defined shapes tend to advance while blurred shapes tend to recede. |
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| the extent to which compositional parts are spread out or crowded together. Visual connections generally occur easily in high-density compositions, while visual connections may be less obvious in low-density ones. |
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| a shape that is derived from specific subject matter and strongly based on perceptual reality. |
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| actual or implied movement of an element within a design. |
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| special attention given to some aspect of a composition to increase its prominence. |
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| the primary or positive shape in a design; a shape which is noticeably separated from the background. the figure is the dominant shape in a figure-ground relationship. |
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| an arrangement in which positive and negative shapes alternatively command attention. |
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1.) the physical manifuestation of an idea, as opposed to the content, which refers to the idea itself
2.) the organizatin or arrangement of visual elements to create a unified design
3.) a 3-D compostion or unit within a 3-D composition
ie: a sphere, cube and pyramid are all 3-D forms. |
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| the outer edge or boundary of a design. |
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| a shape derived from or suggestive of geometry. Geometric shapes are characterized by crisp, precise edges and mathematically consistent curves. |
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| a vigorous drawing that captures the action, structure, and overall orientation of an object, rather than describing specific details. often used as a basis for figure drawing. |
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| any gradual transition from one color to another or from one shape or volume to another. In drawing, shading created through the gradation of grays can be used to suggest 3-D form. |
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| a technique used in drawing and printmaking to create a range of gray tones using multiple parallel lines. |
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| sharply focused visual information that is easily readable. high definition creates strong contrast between shapes and tends to increase clarity and immediacy of communication. |
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| the representation of an object or scene on a 2-D surface so as to give it the appearance of 3-D. |
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1.) a line that is suggested by the positions of shapes or objects within a design
2.) a line that is suggested by movement or by a gesture rather than being physically drawn or constructed. |
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1.) a point in motion
2.) a series of adjacent points
3.) a connection between points
4.) an implied connection between points.
Line is one of the basic elements of design. |
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| blurred or ambiguous visual information. Low definition shapes can increase the complexity of the design and encourage multiple interpretations. |
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| the process of manipulating a pliable (such as clay) to create a 3-D object. |
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1.) a clearly defined area around a pisitive shape or form
2.) a shape created through the absence of an object rather than through the presence of an object. |
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| shapes created without reference to specific visual subject matter. |
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| a shape that visually suggests nature or natural forces. also known as biomorphic shape. |
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| the gorizontal, vertical, or diagonal position of a composition or design element. |
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| placement of one shape or form in front of another to create the illusion of space. |
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| a design create through systematic repetition. many patterns are based on a module or repeated visual unit. |
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| in linear perspective the flat surface on which a 3D image is mentally projected. |
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| the principle or foreground shape in the design and the dominant shape or figure in a figure-ground relationship. |
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| the relative size of visual elements within an image. |
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| the distance between visual or structural elements or between an object and the audience. |
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| a form of balance that is created when shapes or volumes are mirrored both vertically and horizontally with the center of the composition acting as a focal point. |
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| a shape composed from straight lines and angular corners. |
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| sculpture in which forms project out from a flat surface. the degree of projection ranges from low to high relief. |
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| the use of the same visual element or effect a number of times in the same composition. |
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| commonly the life-like depiction of persons or objects. |
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| a shape derived from specific subject matter and strongly based on visual observation. |
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1.) presentation of multiple units in a deliberate pattern
2.) in filmmaking the perceived rate and regularity of sounds shots and movement within the shots
rhythm is determined by the beat/pulse accent and tempo. |
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| a size relationship between two separate objects such as the relationship between the size of the statue of liberty and a human visitor to the monument. |
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