Design Vocabulary

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abstract form

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1) a form derived from visual reality that has been distilled or transformed, reducing its resemblance to the original source. 2) a multiple image structure, such as a film, in which the parts are related to each other through repetition and visual characteristics, such as shape, color, scale or direction of movement

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abstract shape

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a shape that is derived from a visual source, but is so transformed that it bears little visual resemblance to that source

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abstraction

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the reduction of an image or object to an essential aspect of its form or concept

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accent

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a specific shape, volume, color, musical note, etc. that has been emphasized. Using an accent, a designer can bring attention to part of a composition and increase rhythmic variation within a pattern

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accent color

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a color that stands out from its surroundings. Often used to attract attention to a specific part of a design

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achromatic color

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a color (such as black and white) that has no hue

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act

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a major division in a film or theatrical event. Acts are generally constructed from a group of sequences that increase in intensity

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action-to-action transition

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in comic books, the juxtaposition of two or more panels showing a sequence of actions

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actual lines

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lines that are physically present in a design

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actual motion

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motion that physically occurs in a design

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actual time

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the duration of an actual temporal event. For example, it take less than a minute for the bowling ball to roll down the ramps in Jean Tinguley's Chaos 1.

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additive color

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color created by combining projected beams of chromatic light. The additive color primaries are red, green, and blue and the secondaries are cyan, magenta, and yellow

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additive sculpture

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a physical object constructed from separate parts that have been connected using glues, joints, stitching, welds, and so on.

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aesthetics

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the study of human responses to art and beauty

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afterimage

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in color theory, a ghostly image that continues to linger after the actual image has been removed

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ambient light

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the quality of light within an entire space or setting. for example, when we enter an open courtyard on a sunny summer afternoon, we are surrounded by warm ambient sunlight. Everything we see is colorful and bright.

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amplified perspective

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the exaggerated use of linear perspective to achieve a dramatic and engaging presentation of the subject. Amplified perspective is often created using an unusual viewing position, such as a bird's eye view, accelerated convergence, or some form of distortion.

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analogous color

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a color scheme based on hues that are adjacent on a color wheel, such as red, red-orange, and orange

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analogy

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a similarity or connection between things that are apparently separate and dissimilar. For example, wen a teacher describes wet plaster as having the "consistency of cream" he or she is using an analogy.

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anesthetic

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a chemical or action used to induce insensitivity or unconsciousness

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anomaly

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an obvious break from norm in a design

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appropriation

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a postmodern practice in which one artist reproduces an image created by another and claims it as his or her own

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approximate symmetry

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a form of balance that occurs when roughly similar imagery appears on either side of a central axis

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armature

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an internal structure created to strengthen and support a three dimensional object

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aspect-to-aspect transition

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in comic books, the juxtaposition of two or more panels showing different views of a single setting or event. This transition is often used in Japanese comic books

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assemblage

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an additive method in which the artist or designer constructs the artwork using objects and images that were originally created for another purpose. Essentially, assemblage can be defined as three dimensional collage

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asymmetrical balance

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equilibrium among visual elements that do not mirror each other on either side of an axis

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atmospheric perspective

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a visual phenomenon in which the atmospheric density progressively increases, hazing over the perceived world as one looks into its depth. Overall definition lessens, details fade, contrasts become muted and, in a landscape, a blue mist descends.

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attached shadow

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a shadow that directly defines a form

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backlight

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a light source positioned behind a person or object that can either create a silhouette or separate the person or object from the background

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balance

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the equal distribution of weight or force among visual units

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base

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a horizontal support for a physical object, such as a stone block supporting a bronze sculpture

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beat

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1) a unit of musical rhythm that creates the pulse of a sound. 2) in acting, the most basic element in a story. A beat is an exchange of behavior, based on action and reaction

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bend

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one of the five major forces affecting structural strength

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Bezold effect

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a change in a single color that substantially alters our perception of the entire composition

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boundary

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the dividing line or edge between objects, images, or experiences.

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brainstorming

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any of a number of problem-solving techniques that are designed to expand ideas and encourage creativity. List making, mapping, associative thinking, and metaphorical thinking are common strategies used

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calligraphic line

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derived from the Greek words for beautiful and writing, a flowing, and expressive line that is as personal as handwriting. Calligraphic lines generally vary in thickness and velocity

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camera angle

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the angle at which an object or event is viewed. An aerial view can provide the sweeping panorama needed to convey the enormity of a battle, while a low camera angle can provide an expansive view of the sky

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carving

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the removal of materials from a larger mass, gradually revealing an image or object. Carving is a subtractive process

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cast shadow

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a dark shape that results from placement of an opaque object in the path of a light source.

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categorical form

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in film, a multiple image structure that is based on categories, or subsets of a topic. For example, a film on predators might begin with a discussion of wolves, then move on to lions, and conclude with a discussion of hawks

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causality

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the interrelation of cause and effect, based on the premise that nothing occurs without cause. Narrative film is based on causality: because the starting pistol was shot, the footrace began.

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cause-and-effect critique

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a critique in which the viewer seeks to determine the cause for each visual or emotional effect in a design. For example, the dynamism in a design may be caused by the diagonal lines and asymmetrical balance used. Also known as formal analysis

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centricity

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as identified by Rudolph Arnheim, a compressive compositional force

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characteristic texture

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the inherent or familiar texture of a material. The gleaming reflective surface of a steel teapot, the transparent and reflective qualities of glass, and the gritty texture of clay are all characteristic textures

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chiaroscuro

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(from Italian meaning "light-dark") the gradual transition of values to create the illusion of light and shadow on a three dimensional form

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chroma

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the purity, intensity, or saturation of a color

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chromatic gray

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a gray made from a mixture of various hues, rather than a simple blend of black and white

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chronology

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the order in which events occur

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cliche

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an overused expression or a predictable visual treatment of an idea

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close-up

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in film, a type of framing in which the scale of the object shown is relatively large, as in a close-up of an actor's face

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closure

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the mind's inclination to connect fragmentary information to produce a completed form -- Gestalt psychology

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codex

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traditional bound-edged format used for modern books, with separate pages normally bound together and given a cover

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collage

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an image constructed from visual or verbal fragments initially designed for another purpose

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color harmony

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use of compatible colors to help unify a composition

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color interaction

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the way colors within a composition influence one another

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color key

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a color that dominates an image and heightens its psychological and compositional impact

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color overtone

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a secondary hue "bias" in a primary color. For example, alizarin crimson is a red with violet overtones, while scarlet is a red with orange overtones

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color theory

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the art and science of color interaction and effects

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compare/contrast crique

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a critique in which similarities and differences between two designs are analyzed. Often used in art history classes to demonstrate differences in approach between artists

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comparison

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recognition of similarity in two or more compositions. Often used in art history to demonstrate connections between images done by different artists or in different periods

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complementary color

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hues that oppose one another on a color wheel. When paired in a composition, they create contrast; when mixed they produce a wide range of browns

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composite

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a new material created when two or more materials of differing strengths are fused together. Examples include Fiberglass and formcore.

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composition

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the combination of multiple parts into a unified or harmonious whole

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compression

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the forcing or crushing of material into a smaller, denser condition and its visual dynamics and implied psychological effects

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condensation

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to be reduced to a denser form, as with the transition from a vapor to a liquid

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cone of vision

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in perspective drawing, a hypothetical cone of perception originating at the eye of the artist and expanding outward to include whatever he or she wishes to record in an illusionistic image, such as a perspective drawing.

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contact

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the meeting point between visual or structural elements in a design

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containment

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a unifying force created by the outer edge of a composition or by a boundary within a composition

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content

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the emotional and/or intellectual meaning or message of a artwork

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continuity

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degree of connection or flow among compositional parts

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contour line

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a line that describes the edges of a form and suggests three dimensional volume

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contradictory texture

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the unfamiliar use of a texture or the addition of an unusual texture to the surface of an object

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contrast

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the degree of difference between compositional parts or between one image and another; it is created when two or more forces operate in opposition

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contrasting colors

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colors that are substantially different in hue, value, intensity, or temperature

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convergent thinking

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a problem-solving strategy in which a predetermined goal is pursued in a linear progression using a highly focused problem0solving process. Six steps are commonly used: 1. define the problem, 2. do research, 3. determine your objective, 4. devise a strategy, 5. execute the strategy, 6. evaluate the results

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critique

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any means by which the strengths and weaknesses of designs are analyzed

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cropping

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the manner in which a section of an image or a fragment of observed reality has been framed. For example, photographers select a fragment of reality every time they look through the view finder of the camera. Part of the scene is included, while the remainder is cut away. Photographs are often cropped further in the darkroom, leaving only the most significant information.

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cross-contour

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multiple lines running over the surface of an object horizontally and/or vertically that describe its surface configuration topographically., as in mapping. This process is much like wire framing in 3D computer modeling. Cross-contours can also be used in drawing to suggest 3D form through tonal variation

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crosscut

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in film, an abrupt alternation between two or more lines of action

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cross-hatching

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a technique used in drawing and printmaking to shade an object using two or more networks of parallel lines Darker values are created as the number of networks increases

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curvilinear shape

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a shape whose contour is dominated by curves and flowing lines

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cut

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in film, the immediate change from one shot or frame to another

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definition

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1. the degree to which a shape is distinguished from both the ground area and from other shapes within the design. 2. the degree of resolution or focus of an entire image. sharply defined shapes tend to advance while blurred shapes tend to recede

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denouement

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the outcome, solution, or point of clarification in a story

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density

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the extent to which compositional parts are spread out or crowded together. Visual connections generally occur easily in high-density compositions, while visual connections may be less obvious in low-density compositions

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depth of field

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the range of focus in a photographic image, from foreground to background. In a photographic image, from foreground to background. In a photograph with great depth of field, an object that is fifteen feet from the camera is in focus, as well as an object that is ten feet from the camera

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descriptive critique

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a critique in which the viewer carefully describes what he or she sees when observing a design

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descriptive shape

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a shape that is derived from specific subject matter and strongly based on perceptual reality

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diegesis

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the world created in a film or video

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directed light

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localized and focused light, such as a spotlight on a singer

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direction

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actual or implied movement of an element within a design

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disharmony

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combination of colors that clash with each other and appear to be jumping out of the picture

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displacement

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a forming method in which a solid material is physically forced into a new configuration. The stamping process used to mint coins is an example of displacement

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dissolve

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a transition between two shots during which the first image gradually disappears while the second image gradually appears

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dissonance

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the absence of harmony in a composition. Often created using disharmonious colors, shapes, textures, or sounds

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distribution

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the manner in which colors, shapes, or other visual elements are arranged within the format

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divergent thinking

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an open-ended problem-solving strategy. Starting with a broad theme, the artist or designer expands ideas in all directions

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dominance

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the principle of composition in which certain elements assume greater importance than others.

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duration

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1. the length of time required for the completion of an event. 2. the running time of events depicted in the story (plot duration) 3. the overall span of time the story encompasses (story duration)

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dynamic

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energetic, vigorous, forceful; creating or suggesting change or motion

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dynamic form

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a form that implies change

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earth colors

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colors made primarily from pigments in soil, and include raw sienna, burnt sienna, raw and burnt umber, and yellow ochre

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earthwork

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commonly, an artwork that has been created through the transformation of a natural site into an aesthetic statement

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eccentricity

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as identified by Rudolph Arnheim, an expansive compositional force

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economy

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distillation of a design down to the essentials in order to increase impact

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editing

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in film, selecting and sequencing the details of an event to create a cohesive whole

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elements of design

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basic building blocks from which designs are made. For example, the essential elements of 2D design are line, shape, texture, color, and value

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elevation

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in orthographic projection, the front, back, and side views of an object or architectural structure

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emotional advertising

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use of emotion to sell a service, product, or idea. This strategy is often used when a product is neither unique nor demonstrably better than a competing product

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emphasis

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special attention given to some aspect of a composition to increase its prominence

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environmental work (or environment)

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an artwork that must be entered physically. Installations (which are usually presented indoors) and earthworks (which are usually presented outdoors) are two major types of environmental works

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exaggerated advertising

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pushing an idea to an extreme to make a point

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exoskeleton

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an external support structure

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expansion

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the extending outward of materials to fill more space

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eye level or eye line

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in linear perspective, the eye level is determined by the physical position of the artist. Sitting on the floor creates a low eye level while standing at an easel creates a higher eye level. Also known as the horizon line. All vanishing points in one and two point perspective are positioned on the eye level

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fade

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a gradual transition use in film and video. 1. In a fade-in, a dark screen gradually brightens as a shot appears. 2. In a fade-out, the shot gradually darkens as the screen goes black

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fidelity

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the degree of connection between a sound and its source

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figure

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the primary or positive shape in a design; a shape that is noticeably separated from the background. The figure is the dominant shape in a figure-ground relationship

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figure/ground reversal

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an arrangement in which positive and negative shapes alternatively command attention

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fill light

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a diffused light used to lower the contrast between light and dark areas in cinematic and theatrical lighting

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filtration

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the process of separating a solid from a liquid by passing it through a porous substance such as cloth, charcoal, or sand

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flashback

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in film, an alternation in chronology in which events that occur later in a story are shown first

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floodlight

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a softly defined light with a broad beam

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flying buttress

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a type of exoskeleton commonly used by medieval architects in creating cathedrals

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focal point

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primary point of interest in a composition. A focal point is often used to emphasize an area of particular importance or to provide a strong sense of compositional direction

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form

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1. the physical manifestation of an idea, as opposed to the content, which refers to the idea itself. 2. the organization or arrangement of visual elements to create a unified design. 3. a 3D composition or unit within a 3D composition. For example, a sphere, cube, and pyramid

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formalism

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an approach to art and design that emphasizes the beauty of line, shape, texture, etc. as ends in themselves rather than as means to express content. Strictly formalist works have no explicit subject matter

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format

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the outer edge or boundary of a design

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fractured space

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discontinuous space that is created when multiple viewpoints are combined within a single image

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frame

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a single static image in film or video

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freestanding work

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an artwork that is self supporting and is designed to be viewed from all sides

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function

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the purpose of a design or the objective that motivates the designer. For an industrial designer, the primary purpose of a design is often utilitarian. For example, he or she may be required to design a more fuel-efficient automobile. For a sculptor, the primary purpose of a design is aesthetic: he or she seeks to create an artwork that engages the viewer emotionally and intellectually

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fusion

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the combination of shapes or volumes along a common edge

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geometric form

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a 3D form derived from or suggestive of geometry. Examples include cubes, spheres, tetrahedrons, etc

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geometric shape

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a shape derived from or suggestive of geometry. Geometric shapes are characterized by crisp, precise edges and mathematically consistent curves

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Gestalt psychology

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a theory of visual perception that emphasizes the importance of holistic composition. According to this theory, grouping, containment, repetition, proximity, continuity, and closure are essential aspects of visual unity

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gesture drawing

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a vigorous drawing that captures the action, structure, and overall orientation of an object, rather than describing specific details. Often used as a basis for figure drawing

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gloss

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1. in writing, the words of explanation or translation inserted into a text. 2. a secondary text within a manuscript that provides comments on the main text

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gradation (or shading)

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any gradual transition from one color to another or from one shape or volume to another. In drawing, shading created through the gradation of grays can be used to suggest 3D form

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graphic relationship

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the juxtaposition of two or more separate images that are compositionally similar. For example, if a basketball is shown in the first panel, an aerial view of the round freethrow zone is shown in the second, and the hoop of the basket itself is shown in the third, a graphic relationship based on circles has been created

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gravity

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the force that tends to pull all bodies toward the center of the Earth

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grid

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a visual or physical structure created from intersecting parallel lines

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grisaille

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a gray underpainting, often used by Renaissance artists, to increase the illusion of space

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group

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in sequential structure, a collection of images that are related by subject matter, composition, or source.

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grouping

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visual organization based on similarity in location, orientation, shape, color, and so on

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gutter

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in bookbinding, the center line of a book, where the two pages are joined

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hand-held

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a small scale object that can be held in your hands

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Happening

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an assemblage of improvised, spontaneous events performed by the artist and audience alike, based on a general theme. There is no rehearsal, and any location, from a parking lot to a factory interior, can be used.

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hard-sell advertising

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an advertising approach in which a major point is presented in a clear, direct manner. The narrative is usually linear, and the message is usually explicit

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harmony

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a pleasing or soothing relationship among colors, shapes, or other design elements

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hatching

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a technique used in drawing and printmaking to create a range of gray tones using multiple parallel lines

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high definition

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sharply focused visual information that is easily readable. It creates strong contrast between shapes and tends to increase clarity and immediacy of communication

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horizon line

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in linear perspective, the line on which all vanishing points are positioned. More accurately described as the eye line or eye level

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hue

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the name of a color (such as red or yellow) that distinguishes it from others and assigns it a position in the visual spectrum

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human scale

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a design that is roughly our size

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humorous advertising

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use of humor to sell a service, product, or idea. By entertaining the viewer, the designer can make the message more memorable

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hybridity

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the creation of artworks using disparate media to create a unified conceptual statement

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iconography

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the study of symbolic visual systems

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illusionary space

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the representation of an object or scene on a 2D surface to give it the appearance of three dimensionality

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imbalance

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the absence of balance

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implied line

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1. a line that is suggested by the positions of shapes or objects within a design. 2. a line that is suggested by movement or by a gesture rather than being physically drawn or constructed

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implied motion

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the suggested change in location of a figure or object

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implied time

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the suggested location or duration of an event

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installation

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an artwork or a design that presents an ensemble of images and objects within a 3D environment

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intensity

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1. the purity, saturation, or chroma of a color. For example, fire engine red is a high intensity color, while brick red is a low intensity color. 2. in time design, the power, concentration, and energy with which an action is performed or the quality of observation of an event

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interdisciplinary art

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the combination of two or more different disciplines to create a hybrid art form

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interdisciplinary thinking

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use of skills and knowledge from more than one discipline

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in the round

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a 3D object that is self supporting and is designed to be viewed from all sides, as in free standing structure

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invented texture

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a form of visual texture that has been created without reference to perceptual reality

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joint

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a physical connection between elements or parts in a 3D object. Some joints are fixed, such as ones that are bolted together, while others can be moved, as with a hinge or a ball-and-socket joint

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junction

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1. the place at which objects or events meet. 2. a physical intersection between elements or parts in a 3D object

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key light

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a primary source of illumination

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kinesthetics

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the science of movement

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kinetic form

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a form that actually moves

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lap dissolve

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in film, a dissolve in which two shots are temporarily superimposed

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layered space

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compositional space that has been deliberately separated into foreground, middle ground, and background

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layering

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a postmodern practice in which an accumulation of multiple (and often contradictory) visual layers is used to create a single artwork

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line

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1. a point in motion, 2. a series of adjacent points, 3. a connection between points, 4. an implied connection between points.

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linear perspective

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a mathematical system for projecting the apparent dimensions of a 3 object onto a flat surface.

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line weight

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variation in line thickness

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long shot

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in film, a type of framing in which the scale of the subject shown is relatively small, a with an image of a human figure within a landscape

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loudness

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the amplitude of a sound wave; the volume of a sound

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low definition

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blurred or ambiguous visual information. ___ shapes can increase the complexity of the design and encourage multiple interpretations

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maquette

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a well-developed 3D sketch, comparable to a 2D thumbnail sketch

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mass

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a solid 3D form

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matrix

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a 3D grid

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medium shot

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a type of framing in which the scale of the subject shown is of moderate size, as in view of an actor from the waist up

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metaphor

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a figure of speech in which one thing is directly linked to another dissimilar thing. Through this connection, the original word is given the qualities of the linked word

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metaphorical thinking

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the use of metaphors or analogies to create visual or verbal bridges

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meter

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the basic pattern of sound and silence in music or positive and negative in design

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model

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in 3D design, a model is a technical experiment or a small-scale version of a larger design

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modeling

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the process of manipulating a pliable material (such as clay) to create a 3D object

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moment-to-moment transition

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in comic books, a transition in which a character or situation is simply being observed over time

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monochromatic color scheme

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a color scheme based on variations in a single hue.

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monumental objects

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objects that are much larger than humans

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movement

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in design, the use of deliberate visual pathways to help direct the viewer's attention to areas of particular interest

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myth

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a traditional story collectively composed by many members of a society. The creation of the world, sources of evil, the power of knowledge, and even the nature of reality may be explained through these grand expressions of the imagination

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negative shape (or ground)

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1. a clearly defined area around a positive shape or form. 2. a shape created through the absence of an object rather than through the presence of an object

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nonobjective shape

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shapes created without reference to specific visual subject matter

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non-sequitur transition

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the juxtaposition of multiple frames or shots that have no obvious conceptual relationship

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objective criticism

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the assessment of strengths and weaknesses in a design solely based on the visual information presented

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one-point perspective

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a form of linear perspective in which the lines receding into space converge at a single vanishing point of the eye level or horizon line

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opponent theory

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an explanation for the electric glow that occurs when two complementary colors are placed side by side

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organic shape

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a shape that visually suggests nature or natural forces. Also known as bimorphic shape

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organizational lines

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lines used to create the loose linear "skeleton" on which a compositional can be built. Also known as structural lines

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orientation

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the horizontal, vertical, or diagonal position of a composition or design element

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orthographic projection

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a drawing system widely used by artists and designers to delineate the top, bottom and four side views of a 3D object. Unlike perspective drawing, which is designed to create the illusion of space, an orthographic projection is constructed using parallel lines that accurately delineate six surfaces of an object

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overlap

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placement of one shape in front of another to create the illusion of space

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oxidation

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a common form of chemical change used in creating a patina (or colored surface) on a metal sculpture

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pace

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the rate of change in a temporal event

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panel

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a single frame in a comic book

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pattern

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a design created through systematic repetition.

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pedestal

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a vertical support for a sculptural object

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performance art

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a live presentation, often including the artist, usually combining elements from a variety of art forms, such as film, video, theater, and dance

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permanence

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the degree of durability or resistance to decay, in a given material or design

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physical texture

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actual variation in a surface

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picture plane

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in linear perspective, the flat surface on which a 3D image is mentally projected

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pitch

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in music, the relative highness or lowness of a sound. It is determined by wave frequency as compression and expansion occurs within the sound wave

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plane

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a 3D form that has length and width but minimal thickness

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plan view

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the top view of a 3D object or architectural structure, drawn orthographically or freehand

Front 223

plinth

Back 223

horizontal support for a sculptural object

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plot duration

Back 224

the running time of events depicted in a story

Front 225

polyhedra (or polyhedrons)

Back 225

multi-faceted volumes

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positive form

Back 226

an area of physical substance in a 3D design

Front 227

positive shape (or figure)

Back 227

the principle or foreground shape in a design and the dominant shape or figure in a figure-ground relationship

Front 228

primary colors

Back 228

colors from which virtually all other colors can be mixed. The additive (or light) color primaries are red, green, and blue. The subtractive (or pigment) color primaries are yellow, magenta, red, and cyan blue

Front 229

principles of design

Back 229

the means by which visual elements are organized into unified and expressive arrangement. Unity and variety, balance, scale and proportion, rhythm, illusion of space, and illusion of movement are commonly cited as principles of 2D design

Front 230

process colors

Back 230

in four-color process printing, refers to the subtractive primary colors: yellow, magenta, and cyan, plus black

Front 231

prototype

Back 231

a well-eveloped model, as with the fully functional prototype cars developed by automobile companies

Front 232

proportion

Back 232

the relative size of visual elements within an image

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proximity

Back 233

the distance between visual or structural elements or between an object and the audience

Front 234

pure forms

Back 234

circles, spheres, triangles, cubes, and other forms created without reference to specific subject matter

Front 235

radial symmetry

Back 235

a form of balance that is created when shapes or volumes are mirrored both vertically and horizontally, with the center of the composition acting as a focal point

Front 236

rational advertising

Back 236

a type of advertising in which logic and comparisons of quality are used to sell a service, product, or idea. A rational approach is most effective when the message is compelling in itself or the product is truly unique

Front 237

realistic advertising

Back 237

use of a familiar setting or situation to involve the viewer and relate a product, service, or idea to use in everyday life

Front 238

re-contextualization

Back 238

a postmodern practice in which the meaning of an image or object is changed by the context in which it is placed

Front 239

rectilinear shape

Back 239

a shape composed from straight lines and angular corners

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reflected light

Back 240

light that is bounced off of a reflective surface back into space

Front 241

refracted light

Back 241

light that has been bent as it passes through a prism

Front 242

relief

Back 242

sculpture in which forms project out from a flat surface. The degree of projection ranges from low to high relief

Front 243

repetition

Back 243

the use of the same visual element or effect a number of times in the same composition

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representation

Back 244

commonly, the lifelike depiction of persons or objects

Front 245

representational shape

Back 245

a shape derived from specific subject matter and strongly based on visual observation

Front 246

rhetorical form

Back 246

a type of sequential organization in which the parts are used to create and support an argument.

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rhythm

Back 247

1. presentation of multiple units in a deliberate pattern. 2. in filmmaking, the perceived rate and regularity of sounds, shots, and movement within the sots. Rhythm is determined by the beat (pulse), accent (stress), and tempo (pace)

Front 248

rhythmic relationship

Back 248

the juxtaposition of multiple visual elements or images to create a deliberate pulse or beat

Front 249

saturation

Back 249

the purity, chroma, or intensity of a color

Front 250

scale

Back 250

a size relationship between two separate objects, such as the relationship between the size of the Statue of Liberty and a human visitor to the monument

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scene

Back 251

in film, continuous time and continuous space

Front 252

scene-to-scene transition

Back 252

in comic books, the juxtaposition of two or more frames showing different scenes or settings

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scope

Back 253

conceptually, the extent of our perception or the range of ideas our minds can grasp. Temporally, scope refers to the range of action within a given movement

Front 254

screenplay

Back 254

the written blueprint for the film; commonly constructed from multiple acts

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secondary colors

Back 255

hues mixed from adjacent primaries in paint, the secondary colors are violet, green, and orange

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secondary contour

Back 256

the inner edges of a physical object, such as the internal design and detailing of a carved sculpture

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section

Back 257

in orthographic projection, a slice of an object or architectural structure that reveals its internal structure and detail

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sequence

Back 258

1. in filmmaking, a collection of related shots and scenes that comprise a major section of action or narration. 2. in narrative structure, any collection of images that have been organized by cause and effect. in a simple sequence, action number two is caused by action number one. in a complex sequence, there may be a considerable delay between the cause and effect

Front 259

series

Back 259

in sequential structure, a collection of images that are linked simply, as with cars in a train

Front 260

serious advertising

Back 260

advertising that treats a topic in a somber or solemn manner. Often used for public service announcements, such as drunk driving commercials

Front 261

setting

Back 261

the physical and temporal location of a story, the props and costumes used in a story, and the use of sound

Front 262

shade

Back 262

a hue that has been mixed with black

Front 263

shading

Back 263

in drawing, a continuous series of grays that are used to suggest three dimensionality and create the illusion of light

Front 264

shape

Back 264

a flat, enclosed area created when a line connects to enclose an area, an area is surrounded by other shapes, or an area is filled with color or texture

Front 265

shear

Back 265

a force that creates a lateral break in a material

Front 266

secondary contour

Back 266

the inner edges of a physical object, such as the internal design and detailing of a carved sculpture

Front 267

section

Back 267

in orthographic projection, a slice of an object or architectural structure that reveals its internal structure and detail

Front 268

sequence

Back 268

1. in filmmaking, a collection of related shots and scenes that comprise a major section of action or narration. 2. in narrative structure, any collection of images that have been organized by cause and effect. in a simple sequence, action number two is caused by action number one. in a complex sequence, there may be a considerable delay between the cause and effect

Front 269

series

Back 269

in sequential structure, a collection of images that are linked simply, as with cars in a train

Front 270

serious advertising

Back 270

advertising that treats a topic in a somber or solemn manner. Often used for public service announcements, such as drunk driving commercials

Front 271

setting

Back 271

the physical and temporal location of a story, the props and costumes used in a story, and the use of sound

Front 272

shade

Back 272

a hue that has been mixed with black

Front 273

shading

Back 273

in drawing, a continuous series of grays that are used to suggest three dimensionality and create the illusion of light

Front 274

shape

Back 274

a flat, enclosed area created when a line connects to enclose an area, an area is surrounded by other shapes, or an area is filled with color or texture

Front 275

shear

Back 275

a force that creates a lateral break in a material

Front 276

shot

Back 276

in film, a continuous group of frames

Front 277

side light

Back 277

a light positioned to the side of a person or object. Can be used to dramatically increase the sense of dimensionality

Front 278

sight line

Back 278

1. a viewing line that is established by the arrangement of objects within one's field of vision. 2. a straight line of unimpeded vision

Front 279

simile

Back 279

a figure of speech in which one thing is linked to another dissimilar thing using the word "like" or "as". Through this connection, the original word is given the qualities of the linked word.

Front 280

simultaneous contrast

Back 280

the optical alteration of a color by a surrounding color

Front 281

site-specific artwork

Back 281

an artwork is specifically designed for and installed in a particular place

Front 282

skeleton

Back 282

(or endoskeleton)

Front 283

soft-sell advertising

Back 283

an advertising approach that uses emotion, rather than reason, to sell a service, product, or idea. The narrative is often nonlinear and ideas or actions may be implied

Front 284

solidification

Back 284

a forming method in which a liquid material is poured into a mold or extruded through a pipe, then allowed to harden

Front 285

space

Back 285

the area within or around an area of substance. The artist/designer defines and activates ____ when constructing a 3D object

Front 286

spatial context

Back 286

the space in which a sound is generated. A sound that is placed outdoors behaves differently than a sound that is played in a small room

Front 287

spatial relationship

Back 287

the juxtaposition of two or more images that are spatially different, such as a close-up, medium shot, and long shot

Front 288

split complementary

Back 288

a complementary color plus the two colors on either side of its complement on the color wheel

Front 289

spotlight

Back 289

a light that creates a small, clearly defined beam

Front 290

static

Back 290

a composition that is at rest or an object that appears stationary

Front 291

static form

Back 291

a form that appears to be stable and unmoving

Front 292

stereotype

Back 292

a fixed generalization based on a preconception

Front 293

story duration

Back 293

the overall length of a story

Front 294

subject

Back 294

the person, object, event, or idea on which an artwork is based

Front 295

subjective criticism

Back 295

the assessment of strengths and weaknesses in a design based on nonobjective criteria, such as the narrative implications of an idea, the cultural ramifications of an action, or the personal meaning of an image

Front 296

subject-to-subject transition

Back 296

in comic books, the juxtaposition of two or more frames showing different subject matter

Front 297

subordinate

Back 297

of secondary importance

Front 298

subtractive color

Back 298

hue created when light is selectively reflected off a colored surface

Front 299

subtractive sculpture

Back 299

a forming method in which materials are removed from a larger mass. Carving, drilling, cutting, and turning on a lathe are all _____

Front 300

symbolic color

Back 300

a color that has been assigned a particular meaning by the members of a society.

Front 301

symmetrical balance

Back 301

a form of balance that is created when shapes are mirrored on either side of a central axis, as in a composition that is vertically divided down the center

Front 302

take

Back 302

in film or video, one version of an event

Front 303

tangibility

Back 303

the substantiality of an object or the degree to which an object or a force can be felt

Front 304

temperature

Back 304

the physical and psychological heat suggested by a color's hue

Front 305

tempo

Back 305

the pace at which time-based art and music occurs. A fast ___ is usually in action films while a slow ___ is usually used in a dramatic film

Front 306

temporal relationship

Back 306

how the shots in a film relate in time

Front 307

tension

Back 307

the extension of an object through stretching or bending

Front 308

tertiary color

Back 308

a hue that is mixed from a primary color and an adjacent secondary color

Front 309

testimonial advertising

Back 309

use of a trustworthy character or celebrity to provide endorsement for a product, service, or idea

Front 310

texture

Back 310

the visual or tactile quality of a form. ___ can be created visually using multiple marks, physically, through surface variation, or through the inherent property of a specific material, such as sand as opposed to smooth porcelain

Front 311

three point perspective

Back 311

a form of linear perspective in which the lines receding into space converge at two vanishing points of the eye level (one to the left of the object being drawn and one to the right of the object being drawn) plus a third above or below the eye level. Used when the picture plane must be tilted to encompass an object placed above or below the eye level

Front 312

three-quarter work

Back 312

a physical object that is designed to be viewed from the front and sides only

Front 313

timbre

Back 313

the unique sound quality of each instrument. For example, a note of the same volume and pitch is quite different when it is generated by a flute rather than a violin

Front 314

tint

Back 314

a hue that has been mixed with white

Front 315

tone

Back 315

a hue that has been mixed with black and white

Front 316

torque

Back 316

the distortion of an object through a twisting movement. Also known as torsion

Front 317

transition

Back 317

the process of changing from one state or form to another.

Front 318

translucent

Back 318

a surface that permits passage of light

Front 319

transparent

Back 319

a surface that permits the passage of light, such as clear plastic or glass

Front 320

triadic harmony

Back 320

a color scheme based on three colors that are equidistant on a color wheel

Front 321

tromp l'oeil

Back 321

a flat illusion that is so convincing the viewer believes the image is real. From a French term meaning "to fool the eye"

Front 322

two point perspective

Back 322

a form of linear perspective in which the lines receding into space converge at two vanishing points of the eye level, one to the left of the object being drawn and one to the right of the object being drawn

Front 323

typestyle

Back 323

the distinctive quality of the letterforms within a given font.

Front 324

unity

Back 324

compositional similarity, oneness, togetherness, or cohesion

Front 325

value

Back 325

the relative lightness or darkness of a surface

Front 326

value distribution

Back 326

the proportion and arrangement of lights and darks in a composition. Also known as value pattern

Front 327

value scale

Back 327

a range of grays that are presented in a consistent sequence, creating a gradual transition from white to black

Front 328

vanishing point

Back 328

in linear perspective, the point or points on the eye line at which parallel lines appear to converge

Front 329

variety

Back 329

the differences that give a design visual and conceptual interest; notably, use of contrast, emphasis, differences in size, and so forth.

Front 330

viewing time

Back 330

the time an audience devotes to watching or exploring an artwork

Front 331

visual book

Back 331

an experimental structure that conveys ideas, actions, and emotions using multiple images in an integrated and interdependent format.

Front 332

visual movement

Back 332

use of continuity to create deliberate visual pathways. Often used to direct the viewer's attention to areas of particular importance in the composition

Front 333

visual texture

Back 333

texture created using multiple marks or through a descriptive simulation of physical texture

Front 334

visual weight

Back 334

1. the inclination of shapes to float or sink compositionally. 2. the relative importance of a visual element within a design

Front 335

vitalistic sculpture

Back 335

a sculpture that appears to embody life in an inanimate material, such as fiberglas, stone, or wood

Front 336

volume

Back 336

1. an empty 3D form. 2. in 2D design, a 3D form that has been represented using the illusion of space. 3. in time design, the loudness of a sound

Front 337

volume summary

Back 337

a drawing that communicates visual information reductively, using basic volumes, such as sphere, cubes, and cylinders, to indicate the major components of a figure or object

Front 338

volumetric

Back 338

3D in nature

Front 339

weight

Back 339

the visual or physical heaviness of an object

Front 340

wipe

Back 340

in film, a transition in which the first shot seems to be pushed off the screen by the second