General Vocab Flashcards
Learn to use in presentation and critique
An imaginary plane with infinite height and width that is placed in the same way/direction the observer is looking toward.
Picture Plane
The specific relationship of height vs. width of the selected section of the picture plane (imaginary or drawn) is called format.
Format
A tool that facilitates the selection of a section of the imaginary picture plane and determines its format.
View Finder
Scale is the actual size of an object given context.
Scale
The specific location at which an object or experience exists in relation to the context-specific defining limits.
Placement
The visual relationship between objects and their surrounding space on the picture plane that determines the density by which the picture plane is occupied by visual elements.
Positive Negative Relation
When objects are placed in a given space in a way that part of their body exists outside of this specific space.
Cropping
Observing the shapes of objects that have their longest axis at an angle to the observer’s picture plane.
Foreshortening
quick and small-size sketches used in developing ideas about space and spatial arrangements in design.
Thumbnail Sketches
A summarized and energetic drawing that captures essential aspects of an object including its size, scale, general shape, and direction, structure, and other essential qualities such as mass, weight, movement, and even communicate emotive qualities.
Gesture
The gestural depiction of the objects in the space is used to determine the specific area of an object including its size, scale, general shape, direction, structure, and other essential qualities.
Envelope
Are drawn piercings through objects as if they were transparent.
Structural or Diagrammatic Lines
The areas of the picture place that are not occupied by the objects drawn so far.
A space can be amorphous, with obscured limits, or even limitless whereas a shape is clearly defined.
Converting Negative Spaces / Negative Shapes
The Ongoing process of “Shaping” the existing surface and establishing this shape as a light when the tool is dark or as dark when the tool is light, by surrounding the shape with a layer of material.
Additive Process
the ongoing process of “shaping” the existing surface and establishing this shape as a light when the tool is dark or as dark when the tool is light, by removing the material.
Subtractive Process
The process of enclosing areas of the surface that share common characteristics such as value, texture, and color, within a continuous, closed-loop boundary.
Shaping
A state of agreement/order/cohesion among all the components of the work such that the work is perceived as a single whole that is greater than the sum of its parts.
Unity
A method for attaining unity by repeating visual elements.
Repetition
A way to attain unity is by aligning edges or directions in such a way that produces continuous eye movements across the entire space of the drawing.
Continuation
A way to attain unity is by utilizing a grid to place upon them and align important aspects of the composition.
Continuity
A way to attain unity by manipulating the placement of the various components of a composition.
Proximity
The term is used in the broadest sense of the word to refer to relationships or differences of size.
Contrasts
Visual impact motivates the viewer to approach the work to take a closer and longer the work is experienced from a distance.
Visual Impact
The product of a simple overall pattern of visual elements that is appealing or memorable; as a result of a strong graphic impact the work becomes imprinted in the viewer’s mind.
Graphic Impact
A way to maintain perpetual interest in the workways compelling the viewer to seek to experience every aspect of the work for lengthy periods of time.
Variety
The relationship of location where components of the work are depicted in space.
Placement
A state of equilibrium of the work where the various components have equal importance visual or otherwise.
Balance
A way to attain balance is by centrally placing important aspects of the composition in space or time or both.
Formal Balance
A way to attain equilibrium by similarly placing similar important aspects of a composition in space or time in relation to a specific landmark.
Symmetrical Balance
A way to attain equilibrium by manipulating the qualities composition around a perceived or felt center.
Asymmetrical Balance
A way to attain equilibrium by placing important components of the composition around a perceived or felt center.
Radial Balance
A way to attain equilibrium by repeating a motif, or component across the entire space/time span of the work in close spacing.
Crystallographic Balance
The term refers to the perceivable relations between sizes (such as height and width, or intervals between visual activities, etc.)
Proportion
An attribute of the work that attracts the attention of the viewer and encourages a further exploration of the work’s space in directed ways.
Emphasis
Complex abilities to convey information. The following is a list of the visual elements and their capabilities.
Visual Elements
The trace mark of pointed instrument on a surface as the instrument is moved across this surface.
Line
Outlines
Contour lines
Hatchings
Cross Contour
Mark Making
Line Variants
Flat surfaces or areas of 2-dimensional surface characterized by direction, configuration, quality of edge and surface characteristics.
Shape
Flat Shapes that share edges in specific ways to create volume and depth. They are most productive as shapes that result from grouping value areas into shapes, otherwise called value shapes.
Planes
A value system that creates depth by depicting the relative angular relations of planes to the light source and the viewer’s eyes.
Chiaroscuro
The parts of the subject that exists in such an angle in space that reflect toward the viewer all of the light they received from the light source.
Lights
The parts of the subject that have turned somewhat away from the light source in such a way that they reflect toward the viewer much but not all of the light they received from the light source.
Half Tones
The parts of the subject that have turned enough away from the light source in such a way to nearly parallel the direction of the light rays toward them.
Mid Tones
The parts of the subject that have begun to turn away completely from the light source and as a result begin at the faintest beginning of the shadow part of the subject.
Mass Tones
