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| critical review or commentary, especially one dealing with works of art or literature |
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| center of interest, or place where the eye goes first in an artistic composition |
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| to winding or turning in course |
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| fancy penmanship, esp. highly decorative handwriting, as with a great many flourishes |
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| burning, sarcastically biting |
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| a specific size and style of type within a type family |
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| a smaller line used to finish off a main stroke of a letter, as at the top and bottom of M. |
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| the part of a lowercase letter, as b, d, f, h, that rises above x-height |
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| the part of the lowercase letters, such as g, p, and q, that extends below the other lowercase letters |
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| obscure; profound; difficult to understand |
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| a world renowned drawing with accompanying notes created by Leonardo da Vinci around the year 1492 |
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| story in which characters are used as symbols; fable |
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| a skeletal framework built as a support on which a clay, wax, or plaster figure is constructed |
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a style of decorative art developed originally in the 1920s with a revival in the 1960s, marked chiefly by
geometric motifs, curvilinear forms, sharply defined outlines, often bold colors, and the use of synthetic
materials, as plastics |
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a style of fine and applied art current in the late 19th and early 20th centuries, characterized chiefly by
curvilinear motifs often derived from natural forms |
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a sculptural technique of organizing or composing into a unified whole a group of unrelated and often
fragmentary or discarded objects |
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| not identical on both sides of a central line; unsymmetrical; lacking symmetry |
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the advance group in any field, esp. in the visual, literary, or musical arts, whose works are characterized
chiefly by unorthodox and experimental methods
Axis |
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| an imaginary line, in a given formal structure, about which a form, area, or plane is organized |
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a painted, drawn, or sculptured free form or design suggestive in shape of a living organism, esp. an ameba
or protozoan |
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| exaggerated picture or description, distortion |
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an oval or oblong figure, as on ancient Egyptian monuments, enclosing characters that represent the name
of a sovereign |
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a branch of the Indo-European family of languages, including esp. Irish, Scots Gaelic, Welsh, and Breton,
which survive now in Ireland, the Scottish Highlands, Wales, and Brittany |
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| aimless follower of the arts; amateur; dabbler |
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| hard to understand; known only to the chosen few |
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| something of tawdry design, appearance, or content created to appeal to popular or undiscriminating taste |
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| a person who favors a moderate approach to the achievement of a set of goals |
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| confuse; muddle; cause confusion; make unnecessarily complex |
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| capable of being shaped by pounding; impressionable |
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| flowing, running, hand written letters that are connected |
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| product of a primitive culture |
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| make shiny by rubbing; polish |
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In painting, blocking in – the first sketching done on the canvas, and also the first underpainting. In sculpture,
a mass of material that has been carved or manipulated into a rough form of the ultimate work. Italian for
“sketch” |
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| capable of using either hand with equal ease |
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| constant in application or effort; working diligently at a task; persevering; industrious; attentive |
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| formless; lacking shape or definition |
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| comment; make explanatory notes |
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| prototype; primitive pattern |
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| an opening, usually circular, that limits the quantity of light that can enter an optical instrument |
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| having human form or characteristics |
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| highest point; when the moon is furthest away form the earth |
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