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| relating to differences of lightness and darkness, without regard for hue and intensity |
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| the dark area that occurs on a surface as a result of somewthing being placed between that surface and a light source |
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| 1. the distribution of lights and darks in a picture, usually in an attempt to develop the illusion of mass, volume or space 2. a technique of representation that blends light and shadow gradually to create the illusion of three-dimensional objects in space or atmosphere |
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| the value demonstrated by a given color |
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| a composition in which values are contained within the edges or boundaries of shapes. The value pattern reveals the subject(s) and is dependent upon the positioning of the subject(s) |
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| onamenting or enriching but, more importantly in art, stressing the two-dimensional nature of an artwork or any of its elements. Decorative value stresses the essential flatness of a surface |
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| a value that has a level of middle gray or lighter |
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| the portion of an object that, from the observer's position, recievces the greatest amount of direct light |
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| the relative lightness or darkness of a surface, seen in the objective world, that is independent of any effect created by the degree of light falling on it |
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| a value that has a level of middle gray or darker |
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| a composition in which values are not limited by the edges of shapes and therefore flow across shape boundaries into adjoining areas. the value pattern created is unrelated to the location of the subject(s) |
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| value used to create the illusion of volume and space |
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| a technique devised by Leonardo da Vinci of softly blending areas from light to dark, creating subtle transitions. Images often have vague outlines and a hazy or smoky appearance. Sfumato is derived from the Latin fumo, meaning smoke. Leonardo described sfumato as "without lines or borders, in the manner of smoke beyond the focus plane." |
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| the darker value on the surface of an object that suggests that a portion of it is turned away from or abscured by the source of light |
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| the illusion of limited depth. with shallow space, the imagery moves only a slight distance back from the picture plane |
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| the area between or bounded by the contours, or edges of an object as defined by a contrast or value; the total shape |
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| a technique of painting that exaggerates or emphasizes the effects of chiaoscuro. LArger amount of dark value are placed close to smaller areas of highly contrasting lights which change suddenly in order to concentrate attention on important features |
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| 1. the realtive degree of lightness or darkness 2. the characteristic of color determined by the degree of lightness or darkness or the quantity of light reflected by the color |
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| the arrangement or organization of values that control compositional movement and create a unifying effect throughout a work of art. |
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| A texture derived from the appearance of an actual surface but rearranged and/or simplified by the artist to satisfy the demands of the artwork. |
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| A surface that can be experienced through the sense of touch (as opposed to a surface visually simulated by the artist). |
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| A technique that involves grouping actual items (three-dimensional objects) in a display. The items may be found or specially created, and they are often displayed "in situ" - that is, in a natural position or in the middle of a room rather than on a wall. |
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| The illusion of depth produced in graphic works by lightening values, softening details and textures, reducing value contrasts, and neutralizing colors in objects as they recede. |
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| A technique of picture-making in which real materials possessing actual textures are attached to the picture-plane surface, often in combination with painted or drawn passages. |
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| Paintings with subject matters that concern everyday life, domestic scenes, family relationships, and the like. |
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| A created texture whose only source is the artist's imagination. It generally produces a decorative pattern and should not be confused with abstract texture. |
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| The intrinsic character of a painting medium - thickness, glossiness, and so forth - which can enrich a surface through its own textural interests. |
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| A visual and tactile technique in which scraps of paper having various textures are pasted to the picture surface to enrich or embellish those areas. The printing of text or images on those scraps can provide further visual richness or decorative pattern. |
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1. Any artistic design (sometimes serving as a model for imitation)
2. A series of repeated elements and/or designs that are usually varied and produce interconnections and obvious directional movements. |
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| A convincing copy or translation of an object's texture in any medium |
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| A quality that refers to the sense of touch. |
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| The surface character of a material that can be experienced through touch or the illusion of touch. Texture is produced by natural forces or through an artist's manipulation of the art elements. |
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| Literealy, "deceives the eye", the copying of nature with such exactitude as the be mistaken for the real thing (see simulated texture). |
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