Art Vocab

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The study and philosophy of the quality and nature of sensory responses related to, but not limited by, the concept of beauty.

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aesthetic

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What the artist makes or puts in front of us for viewing. The visual object that embodies the idea the artists wanted to communicate.

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work of art

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A particular material along with its accompanying technique, a specific type of artistic technique or means of expression determined by the use of particular materials. Ex: oil paint, marble and video

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medium

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Art of people who have had no formal, academic training, but whose works are part of an established tradition of style and craftsmanship. Ex: religions carvers, quilt makers, and shop sign painters

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folk art

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Art produced by those with no formal training, outside the established channels of art exhibition. Ex: Self directed individuals, prison inmates, and an insane person

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outsider art

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The combining of parts or elements to form a whole, the structure, organization or total form of a work of art.

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composition

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In the broadest sense, the total physical characteristics of an objet or event. Usually describes the visual elements of a work of art that create meaning. Ex: a huge looming shape in painting is a form that may create haunting or foreboding meaning.

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form

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A method of art criticism that values stylistic innovation over personal expression or cultural communication.

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formal elements

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Art that is based on natural appearances but departs significantly from them.

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abstract

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A line in a composition that is not actually drawn. It may be a sight line of a figure in a composition or a line along which two shapes align with each other.

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implied line

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A two dimensional or implied two dimensional area defined by line or changes in color

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shape

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Three dimensional form having physical bulk. Usually a characteristic of a sculpture or a building. Also, the illusion of such a form on a new dimensional surface.

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mass

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The two dimensional picture surface.

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picture plane

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A figure or foreground shape as opposed to a negative ground or background shape.

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figure/positive shape

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A background or ground shape seen in relation to foreground or figure shapes

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ground/negative shape

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A visual effect in which what was seen as a positive shape becomes a negative shape, and vice versa.

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figure-ground reversal

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A self contained or explicitly limited form; having a resolved balance of tensions, a sense of clam completeness implying a totality within itself. A sculptural shape that seems to look inward rather than outward.

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closed form

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A form whose exterior is irregular or broken, having a sense of growth, change or unresolved tension; form in a state of becoming or reaching out.

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open form

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Based on the facts that parallel lines or edges appear to converge and objects appear smaller as the distance between them and the viewer increases

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linear perspective

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In linear perspective, the point on the horizon line at which lines or edges that are parallel appear to converge.

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vanishing point

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In linear perspective, the implied or actual line or edge placed on a two dimensional surface to represent the place in nature where the sky meets the horizontal land or water plane.

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horizon line

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The position from which the viewer looks at an object or visual field; also called “observation point” or “viewpoint”

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vantage point

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A perspective system in which all parallel lines converge at a single vanishing point.

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one-point perspective

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Has two vanishing point

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two point perspective

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Creates the illusion of distance by reducing color saturation, value contrast, and detail in order to imply the hazy effect of atmosphere between the viewer and the distant objects.

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atmospheric perspective

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A line marking the outer contours or boundaries of an object or figure.

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outline

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the line which defines a form or edge - an outline.

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contour line

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are parallel lines that curve over an object’s surface in a vertical or horizontal manner (or both) and reveal the item’s surface characteristics. _______ lines are similar to wire framing used in 3D design.

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cross contour line

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A ______ drawing is the representation of the essence of an object’s or figure’s position. It is the act of creating a drawing or sketch with a loose grip and movement of the drawing tool used. _____ drawings are often very expressive and allow one the freedom to loosen up and not worry about small details. ______ drawings are an ideal way to warm up before one starts to concentrate on a more intense drawing exercise.

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gesture

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The lightness or darkness of tones or colors. White is the lightest value, black is the darkest. The value halfway between these are extremes are called middle gray.

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value

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Italian word meaning “light dark”. The gradations of light and dark values in two-dimensional imagery. Especially the illusion of rounded, three-dimensional form created through gradations of light and shade rather than line.

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Chiaroscuro

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A style of painting that originated in France about 1870. Paintings of casual contemporary subjects were executed outdoors using divided brushstrokes to capture the light and mood of a particular moment and the transitory effects of natural light and color

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impressionism

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Any coloring agent, made from natural or synthetic substances, used in paints or drawing materials. Usually in powdered form.

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pigment

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The color of an object as we experience it, without shadows or reflections.

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local color

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having no color

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achromatic

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The property of a color identifying a specific, named wavelength of light such as green, red, violet, and so on. Often used synonymously with color.

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hue

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Cannot be produced by mixing other colors. Red, yellow and blue.

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primary

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Pigment secondary are the hues orange, violet, and green, which may be produced in slightly dulled form by mixing two primaries.

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secondary

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A hue between a primary and secondary on the color wheel, such as yellow-green, a mixture of yellow and green.

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tertiary (or intermediate)

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A hue with white added

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tint

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A hue with a black added

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shade

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The purity or intensity of a hue or color on a scale from bright (full ____) to dull (low ____) chromatic purity

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saturation

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The relative purity or saturation of a hue, on a scale from bright (pure) to dull. Varying ______ are achieved by mixing a hue with a neutral or with another hue.

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intensity

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Sculpture made by removing material from a larger block or form.

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subtractive color

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The mixture of colored light. When light colors are combines (as with overlapping spotlights), the mixture becomes successively lighter. Light primaries, when combined, create white light.

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additive color

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Colors whose relative visual temperature makes them seem cool. ______ generally include, green, blue0green, blue, blue-violet.

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cool colors

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Colors whose relative visual temperature makes them seem warm. _____ or hues include red-violet, red, red orange, orange, yellow-orange, and yellow.

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warm colors

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A color scheme limited to variations of one hue; a hue with its tints and/or shades

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monochromatic

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Closely relates hues, especially those in which a common blue can be seen; hues that are neighbors on the color wheel, such as blue, blue-green and green.

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analogous

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Two hues directly opposite one another on a color wheel that, when mixed together in proper proportions, produce a neutral gray.

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complementary

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a technique used in perspective to create the illusion of an object receding strongly into the distance or background.

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Foreshortening

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to keep back or set aside

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reserve

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Having many colors

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polychromatic

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is the surface on which an artist lays out their colors (paints) as well as the range of colors an artist works with

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palette

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refers to the way in which two different colors affect each other, how one color can change how we perceive the tone and hue of another when placed side by side. The colors themselves don't change, but we see them as altered.

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simultaneous contrast

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The time during which something continues.

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duration

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an editor who is responsible for illustrations and layouts in printed matter.

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editing

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form of using a train of images deployed in sequence to graphic storytelling or convey information.

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sequential

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non-moving image

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implied motion

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live movement

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actual motion

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An art form, such as an assemblage or sculpture, made up of parts designed to be set in motion by an internal mechanism or an external stimulus, such as light

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kinetic

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art that tells a story, either as a moment in an ongoing story or as a sequence of events unfolding over time

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narrative

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Art in which it is the artist’s intention to present again or represent a particular subject, especially pertaining to realistic portrayal of subject matter

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representational

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Art that is based on natural appearances but departs significantly from them. Forms are modified or changed to varying degrees in order to emphasize certain qualities or content. Recognizable references to original appearances may be very slight.

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abstract

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Art without reference to anything outside itself – without representation

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non-objective

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Representational art in which the human form (rather than the natural world) plays a principal role.

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figurative

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In representational art, what the artist chooses to depict. It maybe a landscape or a mythological scene, or even an invented subject

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subject (subject matter)

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French for “fool the eye” A two dimensional representation that is so naturalistic that it looks actual or real

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trompe-loeil

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In the broadcast sense, the total physical characteristics of an object or an event

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form

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Meaning or message communicated by a work of art, including its emotional, intellectual, symbolic, thematic, and narrative connotations.

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content

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The symbolic meanings of subjects and signs used to convey ideas important to a particular cultures or religions, and the conventions governing the use of such forms. Ex: An hourglass symbolize the passage of time

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iconography

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is a method or style of conveying or portraying something that is widely used and recognized as meaning a certain thing (or conforming to a certain style).

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convention

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judging another culture solely by the values and standards of one's own culture.

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ethnocentrism

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In three dimensional arts, the process of arranging visual elements into a finished work.

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design

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The combining of parts of elements to form a whole; the structure, organization, or total form of a work of art.

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composition

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The appearance of similarity, consistency or oneness. Interrelation factors that cause various elements to appear as part of a single complete form.

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unity

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The opposite of unity. Diverse elements in the composition of a work of art. Most works strive a balance between unity and ____.

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variety

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Repetitive ordering of design elements.

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pattern

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An arrangement of parts achieving a state of equilibrium between opposing forces or influences.

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balance

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A design with identical or nearly identical form on oppose site of a divided line or central axis.

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symmetry

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Without symmetry

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symmetry

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A method an artist use to draw attention to an area. Maybe done with central placement, large size, bright color, or high contrast. Technique by which an artist rank certain areas of a work as of lesser importance.

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emphasis and subordination

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The principal area of emphasis in a work of art. The place to which the artist directs the most attention through composition. May or may not be the same was vanishing point in a work.

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focal point

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Pathways that the artist embeds in a work for the viewer’s eye to follow. May be done with actual or implied lines, or lines of sight among the figures depicted in a work.

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directional forces

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refers to the arrangement of opposite elements (light vs. dark colors, rough vs. smooth textures, large vs. small shapes, etc.) in a piece so as to create visual interest, excitement and drama.

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contrast

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The size or apparent size of an object seen in relation to other objects, people, or its environment.

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scale and proportion

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The shape or proportion of a picture plane. ____ may be large or small, rectangular or oblong.

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format

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the ability of a region or art element within a composition to draw attention to itself. ______ is often created through the use of contrast and/or through the use of color.

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visual weight

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A normative rule that an image should be mentally or representationally divided in three horizontally and diagonally, and that the focus of the image should not be in the center of the resulting shape.

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rule of thirds