Art 121
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Art 121 - Marcador
Art 121 - Detalles
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| Volume (form) | : a containment of space enclosed by points, lines, or planes, either illusionist, as in two-dimensional art, or actual, as in three-dimensional |
| Volume (form) | : a containment of space enclosed by points, lines, or planes, either illusionist, as in two-dimensional art, or actual, as in three-dimensional |
| Volume (form) | : a containment of space enclosed by points, lines, or planes, either illusionist, as in two-dimensional art, or actual, as in three-dimensional |
| Volume (form) | : a containment of space enclosed by points, lines, or planes, either illusionist, as in two-dimensional art, or actual, as in three-dimensional |
| Volume (form) | : a containment of space enclosed by points, lines, or planes, either illusionist, as in two-dimensional art, or actual, as in three-dimensional |
| Volume (form) | : a containment of space enclosed by points, lines, or planes, either illusionist, as in two-dimensional art, or actual, as in three-dimensional |
| Volume (form) | : a containment of space enclosed by points, lines, or planes, either illusionist, as in two-dimensional art, or actual, as in three-dimensional |
| Volume (form) | : a containment of space enclosed by points, lines, or planes, either illusionist, as in two-dimensional art, or actual, as in three-dimensional |
| Volume (form) | : a containment of space enclosed by points, lines, or planes, either illusionist, as in two-dimensional art, or actual, as in three-dimensional |
| Abstract/Abstraction: | Referring to art that simplifies, selectively emphasizes, reorganizes, or distorts qualities of a real-life image rather than art that tries to represent details accurately. |
| Anomaly: | A disturbance or difference occurring in a predictable pattern or composition. |
| Atmospheric Perspective (aerial perspective) | :An illusionary devise used to create space on a flat surface, based upon the observations that nearer objects tend to have morecontrast in value, more intense and warmer color, more sense of volume, and more visible detail and are generally more sharply defined than objects seen in the distance. |
| Axis | An implied line passing centrally through a shape or form. |
| Balance | A sense of visual equilibrium achieved by manipulation of the various visual elements and forces within a composition to achieve a feeling of unity and wholeness. |
| Asymmetrical Balance (Informal Balance) | Distribution of dissimilar visual weights in such a way that those on either side seem to offset each other and create stability. |
| Symmetrical Balance (Formal Balance) | :Distribution of equal visual weight around a central point or axis creating stability. |
| Cliché | Referring to a visual image which has lost impact and seems trite through extensive overuse. |
| Composition (Design) | The organization of visual elements, subject matter and concept into a unified whole that is more important than its parts. |
| Content: | The message, narrative, meaning or subject of a work. |
| Economy | :deletion of nonessential details to reveal the essence of the form. |
| Extension | The amount of area a color occupies in a composition. It includes the size of the area the color occupies and the number of areas the color occurs. |
| Figure (Positive) | That shape in a design which appears as the object, or more positive. |
| Ground (Negative) | That shape surrounding the figure, which appears as backg |
| Figure/Ground Reversal | The ambiguous relationship between a figure and ground when both can be perceived as figure and ground depending on an individual’s choice of organization. |
| Figure/Ground Reversal | The ambiguous relationship between a figure and ground when both can be perceived as figure and ground depending on an individual’s choice of organization. |
| Flat Space (two-dimensional space) | :The emphasis on the arrangement of visual elements on the picture plane with no attempt to create the illusion of depth. |
| Focal Point | :That which is given enough emphasis to become the most noticeable element in a design. |
| Gestalt: | Around 1912, the Gestalt psychologists developed the theory that patterns or groupings are the primary elements of perception. They emphasized that the whole cannot be studied by analyzing the parts. One must a have a concept of how the whole functionsin order to determine what relationship one part has to another and to the whole. |
| Gestalt Principles | Principles which describe our natural tendency to grasp something as a whole rather than seeing it as a series of separate elements. These contribute to our sense of unity in a composition. |
| Grouping | :The joining together and orderly (or logical) relationship of parts, which lead to visual recognition and comprehension. |
| Continuity:States that perception tends to flow in the simplest path resulting in our tendency to perceive separate elements closely aligned as one continuous grouping. When two or more elements are “lined up” with each other, they form an implied line. | States that perception tends to flow in the simplest path resulting in our tendency to perceive separate elements closely aligned as one continuous grouping. When two or more elements are “lined up” with each other, they form an implied line. |
| Closure | Visual elements in close proximity, though incomplete or separated by gaps, will visually join to become a form or shape. |
| Proximity | Grouping elements that are placed closed together. |
| Similarity | Grouping of similar or the same elements-same size, value, shapes. |
| Harmony | Agreement or consonance between visual elements or concepts within a visual expression. A composition based on harmony usually relies less on variety and contrast and more on rhythm and repetition. |
| Hierarchy | A body of elements arranged according torank, authority, or capability. The presentation of certain elements as more important that others in a design for the purpose of creating a feeling of stability, sequence, and movement. |
| Icon | An image, representation. A graphic symbol of almost universal nature. |
| Implied Line | Lines which are suggested but do not physically exist, such as an axis, eyeline, or continuation. For example, a dotted line. |
| Implied Shape | A shape suggested or created by the perceptual connection of dots, lines, areasor edges, creating the visual appearance of a shapethat does not physically exist. (see Closure) |
| Interpenetration | The exchange of visual elements between major subdivisions of a design. |
| Interval | The distance or amount of time between visual elements. |
| Juxtaposition | The placing of two or more objects, elements, or concepts side by side for comparison or contrast. |
| Line | :A mark that is significantly longer than it is wide. |
| Linear Structure | :Actual and implied lines, which can act as a basis for a design. |
| Mass | :An area formed by the grouping of elements through close proximity. |
| Middle Gray: | The value which is visually halfway between black and white. |
| Non-Representational | :Refers to a visual expression which makes no attempt to produce illusions of external reality. |
| Overlap | :A spatial device producing the illusion of depth by placing an element partially in front of another. |
| Pattern: | The resulting design created by repeating an element over and over. Pattern appeals to your visual sense rather than sense of touch. |
| Picture Plane: | The frontal plane or actual surface upon which we work. |
| Principles of Design (Organization) | :The components that artists use the arrange the Elements of Design to create a well-unified and visually varied comption |
| Proportion: | A comparative relationship of parts in terms of size. |
| Repetition | :An element in a design occurring more than once |
| Representational | :Refers to a visual expression which attempts to produce illusions of external reality. |
| Rhythm | :The visual equivalent of notes and pauses in music, created by repetition, variety, and interval. |
| Scale | A spatial cue giving the illusion of depth by adjusting the relative sizes of objects or elements, the overall size of a visual expression. |
| Shape (plane) | :A surface area defined by boundaries. In 3D this surface area can also project into space. |
| Closed Shape: | A relatively compact shape whose edges contain no projections or voids. |
| Open shape | :A shape broken by projections and/or voids |
| Organic Shape (biomorphic and curvilinear) | :Shapes defined by free flowing curves and a lack of rigid geometry. |
| Rectilinear Shape | A shape defined by straight lines. |
| Geometric Shape | :Crisp precise edges and mathematically consistent curves. |
| Space: | The distance, interval, or area that is between, around or within the components of a visual expression. |
| Static | :Appearing inert |
| Stable | :Not likely to fall. Firm. Steady. Able or likely to continue or last. |
| Tactile | :Relating to the sense of touch |
| Tension: | Illusionistic or actual force of stretching; more generally, the sense of parts or visual elements threatening change, striving to meet or repeal each other or to alter their shape of location; creates an uneasy, disturbing feeling. |
| Texture | :Actual or simulated surface quality alluding to the sense of touch. |
| Actual Texture: | The tangible quality of surface such as itssmoothness, roughness or slickness. |
| Simulated Texture: | The illusion or sensation of a certain texture, however, if touched, it would feel much different. |
| Unity: | The quality whereby all of the components of a visual expression work together to form a whole. |
| Value | :the relative lightness or darkness of a color or a gray. |
| Local Value | :The inherent tonality of an object’s surface, regardless of incidental lighting effects or surface texture. |
| Value Structure: | The pattern, construction or configuration based upon the arrangement of values in a design. |
| Variety | :The use of diversity to create visual richness, subtlety, and complexity. |
| Visual Weight: | The apparent lightness or in a portion of a work. |
| Volume (form) | : a containment of space enclosed by points, lines, or planes, either illusionist, as in two-dimensional art, or actual, as in three-dimensional |