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developed on a flat plane without depth (though the surface may be somewhat built up with paint.)
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| has spatial depth as well as height and width. |
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(figurative) when art attempts to represent what we see in the world around us
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the accurate depiction of the visible world
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| transforming the real world into one that approximates one’s ideas of perfection |
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| emphasizing design rather than exact representation when working with natural forms |
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extracting the essence of real objects rather than faithfully representing there surface appearance
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| (nonrepresentational) no reference at all is made to objects from the physical world. |
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| (drawing, painting, printmaking and sculpture) involve the production of works to be seen and experienced primarily on an aesthetic rather than a practical level |
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| serves some useful function (traditional basket makers, furniture makers, potter and weavers) |
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| the making of useful objects by hand |
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| create advertisements, fabrics, layouts for books and magazines, logos for corporate identification, etc |
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| shape the mass-produced objects used by high-tech societies, from cars, telephones, and computer workstations to household furniture |
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| meaning, including the subject matter (what it is or represents), and the emotions, ideas, symbols, stories or spiritual connotations it suggests |
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| created to record something in the political or social environment, to inform the public, or to preserve an event for history |
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| creation of works that allow the person or group who paid for them to gain prestige |
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| to inspire or education the populace or to evoke or appease deities |
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| exploring one’s own interior worlds; capacity for fantasy |
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| the visible characteristics of matter: line, shape and form, space, texture, light and dark, color, and movement or change through time |
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| how a work is organized for a unified and engaging effect |
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the chief focus is on how the artist manipulate elements of design, organized them according to unifying principles, and wields particular media
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emphasis falls on the ability of the art to communicate feelings and ideas
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| one analyzes art primarily on the basis of how it fulfills some religious, political or social purpose |
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where two areas treated differently meet
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| the outer edges of a 3D form or the 2D representation of the edge |
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the large-scaled environment-altering projects in which the surface of the earth becomes the artist’s canvas
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| the implied lines along which a subject’s eyes appear to be looking |
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| tells us the physical nature of the object we are seeing and how it exists in space |
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| the solid content of a 3D form |
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| the solid content of a form |
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| the apparent heaviness of an area of design |
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| fine, short parallel lines used in 2D arts to create the effect of shadow on 3D forms |
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| crossed parallel lines used to create the illusion of form on a 2D surface, by suggesting shadows and rounding in space |
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| a style of painting or drawing in which the artist’s arm and hand movements are apparent in the finished piece |
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the mass or volume of a 3D work or the illusion of volume in a 2D work
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| - a sculptured work in which an image is developed outward or inward from a 2D surface |
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| sculpture in which figures exist on almost the same plane as the background |
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| sculpture in which figures emerge 3D from a flat surface to half or more than half of their natural depth |
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referring to sculpture designed to be seen only from the front
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referring to sculpture that exists in fully 3D space and is to be seen from all sides
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| referring to large sculptures that the viewer can move through as well as around |
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| in sculpture, an unbroken volume with no projections or voids |
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- in sculpture, a volume broken by projections and/or voids
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| a mass that appears inert |
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a mass that appears to be in motion
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| hiding of part of one figure by another, a device used to suggest depth in space |
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| the darkening of an area in a 2D work to suggest curving of a 3D form away from a light source |
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| in 2D art, the depiction of 3D form, usually through indications of light and shadow |
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clean, sharp edges are formed where areas of different colors meet
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| in 2D work, blending of hues where they meet, so that no hard line forms a boundary between them |
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| an object that is presented as a work of art or a part of one, but which was not originally intended as art |
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the surface on which a 2D work is developed
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| Figure-ground relationship |
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in 2D art, seeing images as having been applied over a background
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| a 2D work in which it is difficult to discern which is figure and which is ground, because they are visually interchangeable |
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| in 2D art, the positioning of images on the picture plane, often used with reference to the illusion of 3D |
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| difference in size of objects, used in paintings to suggest 3D depth in space, with the nearest ones being largest |
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| the illusion of deep space in a 2D work through convergence of lines perpendicular to the picture plane toward a vanishing point in the distance |
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| in linear perspective, the representation of parallel lines converging to a single point on the horizon, to create the illusion of deep space |
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the flat surface of a 2D work, often conceived as a transparent window into 3D space
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the perceived line where earth and sky seem to meet, an aspect of linear perspective
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| in linear perspective drawings, the representation of a 3D form viewed from an angle, so that the lines formed by its horizontal edges will appear to diminish to two different vanishing points on the horizon |
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| 2D spatial illusions of forms receding toward 3 vanishing points |
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| the illusion that forms seen at great distance are lower on value contrast and less sharply defined than objects close to the viewer |
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| a downward perspective on an image |
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| the surface quality of a form or the illusion that it would feel a certain way if touched |
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| the true physical feeling of a form’s surface |
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| work that “deceives the eye” into believing it sees something other than the reality of a surface, such as architectural forms on what is actually a flat wall or ceiling |
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a graded representation of differences in value
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a spot of highest value in a work- usually white
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| lights and darks used to convey an atmosphere or idea rather than a literal description of the actual values of a real scene |
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| the polarization of the normal ranges of values towards the extremes of light and dark |
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| the depiction in 2D art of the effects of light and shadow, highly developed in Renaissance paintings as a means of rendering the solidity of bodies |
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| the color frequencies that humans can see; the distribution of colors produced when white light is dispersed |
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the property of a color the enables us to locate its position in the spectrum or on the color wheel and thus label it as “red” or “blue” etc. Determined by its wavelengths
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| hues seen when light is reflected from a pigmented surface |
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| hues that are a mixture of a primary and a secondary hue lying next to each other on the color wheel |
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| colors lying opposite each other on a color wheel |
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| the relative brightness or dullness of a color |
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| the color usually associated with an object, as seen from nearby under normal daylight without shadows or reflections |
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| the effects of lighting and environmental reflections on local colors |
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| color chosen to represent an emotional atmosphere or idea rather than the visual reality of an object |
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| having a color scheme based on values of a single hue, perhaps with accents of another color or neutral colors |
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| those lying near each other on the color wheel |
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| the use of 3 hues lying at equal distances from each other on the color wheel |
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| a technique of painting using dots of primary and secondary hues in close juxtaposition to make them mix in the viewer’s perception |
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use of an unlimited range of colors in juxtaposition
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highly selective use of only a few colors
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an all-over design created by repetition of figures
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| change rather than sameness in design elements |
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the abrupt or gradual change from on portion of a design to another
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| abrupt change, as when opposites are juxtaposed |
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the visual equivalent of notes and pauses in music, created by repetition, variety, and spacing in a design
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| the distribution of apparent visual weights through a composition |
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| the apparent heaviness of an area of design |
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| distribution of equal forces around a central point or axis |
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| symmetric arrangement of design elements around the center of a circle |
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| the distribution of dissimilar visual weights in such a way that those on either side seem to offset each other |
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predominance of one area or element in a composition
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| the area of a composition to which the viewer’s eye is most compellingly drawn |
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| the use of as few means as possible to achieve a desired visual result |
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a shaft that allows daylight to enter the interior of a building
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| in ancient Greek aesthetic theory, an ideal proportional relationship between parts, whereby the smaller is to the greater as the greater is to the whole |
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a rectangle the lengths of whose sides correspond to golden section proportions
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| the horizontal member atop a column, supporting what lies above |
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