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| The manner and skill in which the artist uses tools and materials to achieve an expressive effect |
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| The specific artistic character and dominant form trends noted in art movements. It may also mean artist’s expressive use of media to give an individual character to his work. |
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| The arbitrary organization or inventive arrangement of all of the visual elements in an attempt to develop a unity in the total work of art. |
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| Things that affect people on what they think, how they do things, or how they see the world |
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| This term, in a descriptive style of art, refers to the persons or things represented in a work. In abstract and nonobjective forms of art, it refers to the basic character of all the visual signs employed by the artist. In this case, it has little to do with anything as experienced in the natural environment. |
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| A term used in regard to the quality or sensation of pleasure, enjoyment, disturbance, or meaning people can experience in viewing works of art. It is a study of these emotions involving the psychology, sociology, and philosophy of art. |
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| The essential meaning, significance, or aesthetic value of an art form. It refers to the sensory, psychological or emotional properties that one tends to “feel” in a work of art as opposed to the perception of mere descriptive aspects. |
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| A line is the path of a moving point-that is, a mark made by a tool or instrument as it is drawn across a surface. Its length is distinctly greater than its width. |
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| The darker value on the portion of a form’s surface that is turned away from the light source. |
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| Measurable distances on a surface which show length and width but lack any illusion of thickness or depth. |
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| A sensation of space that seems to have length, width, and height to create visual or real depth. |
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