Drawing Terms and Techniques
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Harmony
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a consistent or orderly arrangement of the visual elements of a composition forming a pleasing unified whole. Most simply, think of recurring similarities in the elements used; recurring line, recurring value, recurring color, recurring shape, recurring texture, and recurring directional thrusts. For creating harmony, consider the use of repetition, rhythm, and pattern.
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Repetition
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visual elements are repeated, providing stepping stones for our eyes to follow.
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Rhythm
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the orderly repetition of visual elements, or repetition in a marked pattern, which creates flowing movement. Bridget Riley.
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Pattern
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a two-dimensional application of rhythm or repetition, such as repeated motif in a wallpaper or textile design, results in pattern.
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Variety
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the compliment or counterpart of harmony; introducing change, diversity, or dynamic tension to the recurring visual elements of harmony.
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Emphasis/domination
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development of focal point(s) created through some form of contrast or difference-contrast of value, contrast of color, or contrast in the degree of development of definition.
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Movement/directional forces
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development of primary and secondary visual paths of movement.
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Proportion
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the correct, attractive, or ideal relationship in size or shape between one thing and another or between the parts of a whole
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Economy
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involves the idea of sacrificing detail for the sake of unity.
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Variable Compositional Elements to Consider
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Size, Position, Direction, Number, Density of form Interval, Proximity or nearness Similarity Suggesting Space or Depth on a 2-D Surface; Size
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Baseline or position
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refers to the imaginary point at which a form makes contact with a ground plane.
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Overlapping
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Sharp and diminishing detail
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Converging parallels
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any set of parallel lines will appear to converge or meet as the lines move back in space and away from the viewer towards the horizon line. Closely related to linear perspective.
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Linear perspective
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a geometric/mathematical system used for converting sizes and distances of known objects into a unified spatial order, consistent in scale, and assuming a view from a single, fixed position at a particular moment in time.
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Different Kinds of Space Decorative space
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a depthless surface or space that exists across the picture plane rather than into it.
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Plastic space
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a space which seems to extend beyond the surface of the picture plane by creating illusion of depth and volume. Images of elements have relationships in depth as well as in length and width. It is essentially the illusion of3-d space.
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Shallow space
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sometimes called \"limited depth\" b/c the artist controls the visual elements so that no point or form appears to move beyond the picture plane or surface. Matisse
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Deep or infinite space
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an illusion of space that has the quality of endlessness found in the natural environment; also referred to as \"atmospheric perspective\". Size, position, overlapping images, sharp and diminishing detail, converging parallels, and perspective are traditional methods of indicating deep space.
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Value and space
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any light colors (light in value) on a dark ground will advance or come forward according to the degree of lightness of value. On a light ground, this effect is simply reversed-colors of a light value recede and colors of a dark value advance, according to their degree of lightness or darkness.
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Temperature and space
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Among the cool and warm colors of equal value, the warm colors will advance and the cool will recede. If value contrast is also present, the spatial effects will be increased, decreased, or cancelled out accordingly.
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Intensity and space
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Differences or contrast in the purity or intensity of colors also affects spatial properties. A pure color advances relative to a duller color of equal value, but if the value or temperature contrasts are also present, the spatial relationships shift accordingly. VALUE, TEMPERATURE, INTENSITY, and TEXTURE play a significant role in establishing volume and dimensionality when using color.
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Line Variation and Sensitivity
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1) what medium is being used and to what surface is it applied to 2) line sensitivity =Lines respond to pressure; lines have weight and a direction. They can start very thin, wispy, thicken as they go (as you exert more pressure with your pencil on the paper), and become wispy again, and sometimes even vanish, only to be picked up again after a pause. Feel the pencil as it moves over the paper; vary the pressure, be sensitive to contact and you will achieve a sensitive line. The challenge, after you become sensitive to the endless variety of lines, is to unite sensitivity with purpose: or to give purpose to the sensitivity: when to give more weight to your line? When to make it wispy, when to make it disappear? When to let it flow, when to interrupt it with hard angle?
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Different Kinds of Functions of Line Contour line
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a single line, deliberately and slowly executed. It defies edges- edges of planes as well as interior and exterior edges. There is typically no erasure or correction in pure contour line. BLIND CONTOUR indicates that one looks only at the subject being drawn. Matisse/P
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Modified contour line
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allows one to draw a bit more quickly. With only occasional glances at the drawing surface to monitor proportions.
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Cross-contour line
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describe an objects surface between edges. Rather than the edges of planes, cross contour lines move from side to side across planes, describing dips and swells and surface changes and enhancing the sense of volume and dimensionality. Henry Moore Classical line: disciplined, restrained, and precise. It is typically crisp and delicate in character, lacking significant variation in value or weight. Ingres
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Anatomical line
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denotes the presence of the internal or underlying structure of form. Most often used in reference t the human figure, it suggests the presence of structural or anatomical factors such as skeletal structure or muscle structure. Also called structural line, referring to underlying structure and opposed to planar forms. Schiele
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Organizational line
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act as the underpinnings of a drawing, and are most often absorbed into the finished work without being especially evident in the end result. Organizational line can include axis lines indicating major and minor directional thrust of a form, and lines indicating spatial relationships between foreground, middle ground and background forms. Giacometti
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Structural line
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reveals the structure of form by describing the various planes that make up the form. Line can describe the edges of planes (contour line), with structural line added to indicate the main directional thrusts of these planes, enhancing the sense of volume and dimensionality. When clustered together, structural lines can also describe value or tonal structure. Smithson or Christo
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Mechanical line
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is objective as opposed to subjective, and remains constant in character, without significant changes in width or value or texture. Applicable in architectural renderings. Lewitt
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Angular line
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used to develop a precise definition of contours that are not typically considered to be angular in nature. It employs the use of a series of straight lines to interpret a curved edge or contour, without the straight lines being particularly dominant in the end result. Kokoschka or Toulouse-Latrec.
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Decorative line
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typically curvilinear than rectilinear, and are generally rooted in the interpretation rather than objective observation. Matisse/Bonard.
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Calligraphic line
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resembles handwriting and makes use of fluid, continues movement. Developed by Eastern artists, in which the tool, media, surface, and technique are all considered equally important. Hokusai
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Broken or implied line
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relying on the principle of CLOSURE (a perceptual phenomenon in which the viewer participates by visually filling in the \"missing information\"), broken or implied line is the mere suggestion of an edge or contours opposes to the explicit definition of an edge or contour. Schiele
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Altered line
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characterized by reworking of a line, altered lines are smeared, rubbed, blurred, softened, or erased to create an imprecise line. Subjective in nature, altered lines are capable of conveying motion or movement or a sense of ambiguous form or space because of their imprecision. Larry Rivers Agitated line: characterized by irregular or choppy strokes, agitated or angry line conveys a sense of agitation, anger, tension, or a similarly negative emotion. Rooted in subjective interpretation rather than objective observation, and considered the opposite of decorative line. George Grosz
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Process or searching lines
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refer to the presence of the initial marks made by the artist in seeking out the correct edges and contours of a form.
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Tonal or dimensional line
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frequently an integral part of other functions of line and is particularly important in conveying a sense of dimension through line. Variation of the line, specifically in the tone of the line (light and dark), is required.
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Chiaroscuro
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Originating in the Renaissance, chiaroscuro is the representational use of value that uses an even, gradual transition from light to dark to produce three-dimensional, volumetric results.
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Tenebrism
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Also originating in the Renaissance, tenebrism is an exaggeration or emphasis of the effects of chiaroscuro producing strong contrast, creating dramatic mood.
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Plastic value
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value used to describe volume and space of a plastic form
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Low key value
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Predominately dark values often used to create an effect of gloom, mystery, drama, menace, or heaviness.
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High key value
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Predominately light values often used to create an effect opposite of low key value, such as light-heartedness, delicateness, or whimsy.
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4 THINGS TO LOOK FOR WHEN IDing VALUE STRUCTURE on a FORM
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1) light source 2) the shape of areas of shadow and lights 3) variations within larger shapes of value 4) Edge quality of value shapes
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The Technique of Scaling
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Scaling is a process based in perspective that determines the accurate size relationships of forms in an illusionistic space. The process of scaling establishes a CORRIDOR OF CONVERGENCE, which determines the change in apparent size or scale as a given form is moved to a different position within the illusionistic 3-D space of drawing. Scaling also maintains an accurate size relationship between different forms within the illusionistic 3-D space.
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The Golden Section
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also known as the golden mean, the golden proportion, the golden ratio, and the divine proportion. It is a system of aesthetically pleasing proportions based on the division of space into parts that correspond approximately to the proportion of three small parts to five parts (3:5) or five parts to eight parts (5:8). In other words, the smaller part relates to the size of the greater part in the same way as the greater part relates to the size of the whole. On any given line, there is only one point that will bisect it into two unequal parts in this uniquely reciprocal fashion, and this one point is called the point of Golden Section. This principle can be applied to a line, to a 2-D plane, or to a 3-D solid. This divine proportion is credited by some with various mystical properties and exceptional beauties both in science and in art. Evidence of this principal can be found in architectural forms, in the human body, and the capital letters if the Latin alphabet.
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Fibonacci Series
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a system of expanding size relationships connected with the Golden Section. In mathematics, the Fibonacci Series is known as the summation series in which each number is the sum of the two previous ones. Leonardo of Pisa, also known as Fibonacci (1175-1230), discovered that if a ladder of whole numbers is constructed so that each number on the right is the sum of the pair on the preceding rung, the arithmetical ratio between the two numbers in the same rung rapidly approaches the Golden Section. This numerical sequence, carried out a few times, yields the following series of numbers:: 1, 2, 3, 5, 8, 13, 21, 34, 55, 89, 144, 233, 377, 610, 987, 1597, 2584, . . . Any number in the series divided by the following one (5 divided by 8) approximates .618, while any number in the series divided by the previous one (8 divided by 5) approximates 1.618. These are proportional rates between major and minor parts of the Golden Section.
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Abstraction
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Departure from representational accuracy.
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Aesthetic
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Values used in judging a work of art involving reasons for finding a work of art beautiful.
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Ambiguous space
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-space that is neither clearly .at nor clearly volumetric
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Atmospheric Perspective
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The effect of air and light on how an object is perceived by the viewer. The mere air between viewer and the object, the more the object seems to fade. A bright object seems closer to the viewer than a dull object.
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Axis Lines
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Imaginary lines that indicate center, movement, and the direction of movement in form.
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Balance
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A principle of design that deals with arranging visual elements in a work of art equally. The two types of this principle are: symmetrical/formal and asymmetrical/informal.
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Blending
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The technique of shading through smooth, gradual application of dark value.
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Chiaroscuro
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The method of arranging light and shadow in two-dimensional art to create the illusion of three-dimensional form. This technique was introduced by Italian artists during the Renaissance and used widely by Baroque. Rembrandt is on most famous for the technique.
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Closed Composition
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in which all of the forms are contained within the edges of the picture plane.
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Composition
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the way the art principles are used to organize the art elements of color, line, shape, form, space, value, and texture.
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Content
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The idea, feeling, mood, or message expressed by an art work.
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Contour Lines
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Lines creating boundaries that separate one area from another. Lines define edges and surface ridges of objects and figures.
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Contrast
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A technique and a principle of art creating a focal point by using distinct difference in elements.
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Cross-hatching
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Technique for shading with a series of fie parallel lines (hatching) and by using two or more crossed sets of parallel lines.
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Depth
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the apparent distance near to far or front to back in an artwork.
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Distort
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The stretching of an object or figure out of normal shape to communicate ideas and feelings.
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Edge
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The line of separation in a drawing between two shapes.
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Emphasis / Focal Point
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A principle, and the area of a work that first attracts the viewer's attention. This can be drawn in various ways.
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Fixed Point of View (Station Point)
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the exact position of the viewer's eye in relation to the subject matter.
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Foreshortening
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Method of drawing or painting an object or person so that it seems to go back into space. This method reproduces the portions a viewer actually sees. **
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Form (Mass)
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An element of art that is three-dimensional and encloses space. An artist's way of using elements of art, shapes with clearly defies outlines.
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Format
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the overall shapes and sizes of the drawing surface.
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Free-Form Shapes/Forms
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Shapes or Forms that are irregular and uneven. These shapes are often natural / organic.
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Gesture Drawing
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Loose arm movement making a quick sketch.
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Golden Mean
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Perfect ratio (relationship of parts) discovered by Euclid, a Greek philosopher. Its mathematical expression is 1 to 1.6. It is also referred to as the Golden Section and the Golden Rectangle.
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Grid
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Pattern of intersecting vertical and horizontal lines. (Not a shading technique!)
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Hard Edge
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In two-dimensional art, shapes with clearly defined outlines.
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Highlights
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These are small white areas in a drawing or painting. A refection of most light.
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iconography
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study of symbols used in art
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Line
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An element of art that is a continuous mark made on a surface with a pointed, moving tool. Type of lines: curvy, zigzag, thick, thin, bold, curly, wavy, etc.
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Linear Perspective
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The technique of using lines in drawing and painting to create the illusion of depth on a .at surface. All receding lines meet at a single point or different sets of lines meet at different parts.
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Medium(s)
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Material such as paint, glass, metal, pencil, etc. used to make an art object.
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Negative Spaces
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An element of art referring to the emptiness or area between, around, above, or within objects / things / figures.
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Parallel Lines
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Lines that move in the same direction and always stay the same distance apart never crossing.
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Pattern
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A principle of design that repeats elements to create good visual flow.
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Perspective
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The method used to create the illusion of depth on a two-dimensional surface. Developed during the Renaissance by architect, Filippo Brunelleschi. Various ways to create this depth are overlapping, converging lines, size variations, etc.
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Plane
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Any flat level or surface.
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Positive Spaces
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Shapes or forms in two or three-dimensional art. Empty space around these shapes or forms is its opposite.
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Proportion
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A principle of design concerned with the size relationship of one part to the whole and one part to the other.
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Rhythm
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A principle of design that repeats elements to create the illusion of moment / seem active / or to suggest vibration.
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Scale
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The relationship of sizes between one form and another.
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Shapes
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An element of art that is two-dimensional and encloses space. They can either geometric or free-form.
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Sighting
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A technique for determining the proportional relationship of one part of an object to another. Use pencils as a visual measuring tool.
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Sketch
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Quick, rough drawing without much detail that can be used as a plan or reference for later work.
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Soft Edge
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In two dimensional art, shapes with fuzzy, blurred outlines.
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Still Life
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Drawing inanimate (non-moving) objects.
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Symbol
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Visual images that stand for or represent something else.
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Texture
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An element of art that refers to how things feel or how they look like they might feel on the surface.
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Unity
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A principle of design that allows the viewer to see a combination of elements, principles, and media as a whole.
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Value
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An element of art that deals darkness or lightness.
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Volume
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Three-dimensional quality inherent in every form.
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The 7 Elements of Design / Art
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Line, shape, form, color, texture, value, and space.
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The Principles of Design / Art
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Contrast, balance (symmetrical, and asymmetrical), movement, rhythm, unity, pattern, harmony, proportion, emphasis, and variety.
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