terminology Flashcards
1
Q
A stepped pyramid with a temple on top.
A
Ziggurat
2
Q
A print made by cutting the end-grain of a piece of wood, capable of rendering finer lines than the lengthwise grain used for woodcuts.
A
Wood engraving
3
Q
A print made by carving away areas of a wood block and inking the remaining relief surfaces.
A
Woodcut
4
Q
A method of creating forms of clay by centering a mass of clay on a circular slab and then pulling the sides up from it with the hands as this wheel is turned.
A
Wheel Throwing
5
Q
A transparent water-soluble painting medium consisting of pigments bound with gum.
A
Watercolour
6
Q
The wedgeshaped stones in an arch.
A
Voussoirs
7
Q
The apparent heaviness of an area of design.
A
Visual Weight
8
Q
The color frequencies that humans can see.
A
Visible Spectrum
9
Q
A thin surface layer, such as a fine wood placed over other woods.
A
Veneer
10
Q
A fine parchment prepared from the skin of a calf, kid, or lamb.
A
Vellum
11
Q
Degree of dark or light.
A
Value
12
Q
Referring to canvas that has not been treated with a glaze or filler, leaving it porous to paint.
A
Unsized
13
Q
Visual coherence in a work of art; also used sometimes to refer to repetition of similar motifs in a design, in contrast to variety.
A
Unity
14
Q
The initial layers of paint in indirect painting.
A
Underpainting
15
Q
The art of designing, sizing, and combining letterforms on a printed page.
A
Typography
16
Q
In linear perspective drawings, the representation f a three dimensional form viewed from an angle, so that the lines formed by its horizontal edge will appear to diminish.
A
Two-point Perspective
17
Q
In architecture, a framework of wood or metal beams, usually based on triangles, used to support a roof or a bridge.
A
Truss
18
Q
Work that “decieves the eye” into believing it sees something other than the reality of a surface. Such as architectural forms on what is actually a flat wall or ceiling.
A
Trompe l’oeil
19
Q
The use of three hues lying at equal distances from each other on the color wheel.
A
Triad color scheme
20
Q
The abrupt or gradual change from one portion of equal design to another.
A
Transition
21
Q
The degree to which a work (particularly a photograph) approaches the full range of values from black through grays to white.
A
Tonal Range
22
Q
In a traditional Japanese home, an alcove devoted to contemplation of a single scroll painting, perhaps accompanied by a flower arrangement.
A
Tokonoma
23
Q
The small cubes of colored glass, ceramic, or stone used in mosaics.
A
Tesserae
24
Q
Hues that are a mixture of a primary and a secondary hue lying next to each other on the color wheel.
A
Tertiary Hues
25
A measure of the ability of a material to be stretched without breaking.
Tensile Strength
26
A painting medium in which pigments are mixed in water with a glutinous material such as egg yolk, usually weilding a fast drying, matt finish that cannot be mixed.
Tempera
27
A heavy, handwoven textile with pictures woven into the surface of the fabric, usually used as a wall hanging.
Tapestry
28
Liquid media in which industrially created chemicals, such as acrylic emulsion, are used to carry the pigments.
Synthetic Media
29
A system of optical color mixing in which new hues are created in the space between colored figures.
Synergistic color mixing
30
Distribution of equal forces around central point or axis, also called formal balance.
Symmetrical Balance
31
Art based on dreamlike images from the subconscious, appearing as a recognized movement beginning in the 1920s.
Surrealism
32
The solid material base on which a 2D work of art is executed. such as canvas or panel in the case of a painting.
Support
33
That which is created by the provess of carving away material to reveal the desired form.
Subtractive sculpture
34
The combination of reflected colours.
Subtractive color mixing
35
In classical Greek architecture, the flat base on which a series of columns rests.
Stylobate
36
Referring to distortion of representational images in accordance with certain artistic conventions or to emphasize certain design qualities.
Stylized
37
Cermaics made from clays that become very hard when fired at high temperatures.
Stonewere
38
Use of dots in a drawing or engraving to develop areas of a particular value, usually to suggest three dimensional form.
Stippling
39
A 2D representation of a group of inanimate objects such as fruit flowers and vessels.
Still-life
40
A mass that appears inert
Static Form
41
One of the stages of an etching, if printed separately.
State
42
A structural spanning the corner of a tower to help support a superstructure such as a dome.
Squinch
43
The area occupied, activated, or suggested by a work of art.
Space
44
In 2D work ,blending of hues where they meet, so that no hard line forms a boundary between them.
Soft-edged
45
A mixture of clay and water.
Slip
46
The process of building a foprm of clay by attaching flat shapes to each other.
Slab Building
47
In early Greek theaters, the building at the back of the performance area from which actors entered and exited, also used a s a changing room and as a backdrop for the action.
Skene
48
A coating or glue or resin to make a surface such as canvas less porous so that paint will not sink into it.
Sizing
49
The illusion that an image would feel a certain way if touched, in contrast to the reality of its actual texture.
Simulated texture
50
A drawing medium in which a finely pointed rod of silver encased in a holders is used to make marks on a slightly abrasive surface; the minute deposit of metal darkens by oxidation.
Silverpoint
51
A printmaking process in which link is pressed through a fine screen in areas that are not masked by a stencil or other material; also called serigraph.
Silkscreen
52
The darkening of an area in a 2D work to suggest curving of a 3D form away from a light source.
Shading.
53
Softly graded tones in an oil painting, giving a hazy atmospheric effect, highly developed in the work of Leonardo da Vinci.
Sfumato
54
Froms developped across the surface of a larger form.
Secondary Contours
55
In oil painting, the technique of brushing one layer of paint on top of another in a way that reveals some of the undercolor.
Scrumbling
56
Difference in size of objects, used in paintings to suggest 3D depth in space, with the nearest ones being largest.
Scale Change
57
The relative brightness or dullness of a color, also called chroma or intensisty.
Saturation
58
Referring to a typeface that has no fine lines finishing the major strokes.
Sans Serif
59
An arch formed by a semicircle, an innovation introduced by Roman architecture and much used in Romanesque architecture.
Round Arch
60
A circular building or room, especially one with a dome.
Rotunda
61
The tendency to emphasize emotion and imagination rather than logic, ocurring at many times in the history of Western Art, including the first half of the 19th century. Traditionally contrasted with classicism.
Romanticism
62
A style of European art from about the eleventh century to the beginning of the Gothic period, most notable for its architecture of round arches, thick walls and columns, and stone relief carvings.
Romanesque
63
The late Baroque period, particulary in France, Southern Germany, and Austria, characterized by extrremely ornate, curvilinear forms in architectural decoration and delicay and looseness in painting.
Rococo
64
In architecture, a masonry ceiling in which arched diagonal ribs from a framework that is filled with lighter stone.
Ribbed Vault
65
The waxy, acid-resistant substance used to coat the metal plate used for etching, into which the lines of the image are drawn.
Resist
66
Referring to artworks that aim to present likenesses of known objects.
Representational
67
The working of a sheet of metal from the back to create designs in relief on the front.
Repousse
68
A movement beginning in the 15th century Italy to recapture the harmony, symmetry, and rationality of Classical works, with an elaboration of linear perspective.
Renaissance
69
A sculptured work in which an image is developed outward or inward from a 2D surface.
Reliefs
70
A color relief print in which portions of a single block are cut away in stages, with each stage overprinted in another color, rather than creating a series of registered blocks for the various colours.
Reduction Print
71
The attempt in art to capture the appearance of life as it is, as opposed to stylized or romanticized portrayals. In mid 19th century France, the artisitic movement of this name concentrated on subjects from everyday, and often working class, life.
Realism
72
In metal working, to hammer a flat sheet over a stake to bring up the sides of a vessel and work them inward.
Raise
73
Symmetric arrangement of design elements around the center of a circle.
Radial Balance
74
Chubby nude male babies often depicted in Italian art from the 15th century onward.
Putti
75
The arch that frames the stage, hiding the mechanics.
Proscenium arch
76
Highly selective use of only a few colours.
Limited palette.
77
A print made by cutting lines into a plate of metal, forcing ink into them, and printing the cut lines.
Line engraving
78
The illusion of deep space in a 2D work through convergence of lines perpendicular to the picture plane toward a vanishing point in the distance.
Linear Perspective
79
A print made by gouging away areas of a linoleum block that are not to be linked and printed.
Linocut
80
A fluid base used to carry pigments for painting or drawing, such as ink, oil, or acrylic emulsion.
Liquid medium
81
A printmaking technique in which a flat stone or metal or plastic plate is drawn on with a greasy substance that retains ink when the wettened plate is inked for printing.
Lithography
82
The color usually associated with an object, as seen from nearby under normal daylight without shadows or reflections.
Local Color
83
The degree of light or darkness seen on an actual surface.
Local value
84
A casting process in which was is used to coat the insides of molds and then melted away when the molds are assembled, leaving an empty space into which molton metal is poured; also called cire perdue.
Lost-wax
85
Sculpture in which figures exist on almost the same plane as the background.
Low relief
86
A circular symbolic spiritual pattern.
Mandala
87
An artisitc style in Italy from approximately 1525 to 1600 in which artists developed a more subjective, emotional, theatrical approach than in the high preceding High Renaissance period.
Mannerism
88
A small model used for planning and guiding the creation of a sculpture.
Maquette
89
An intaglio printmaking technique in whjich an overall burr is raised on the surface of the metal plate and then smoothed in places, creating various tones and textures.
Mezzotint
90
A work of art done on a much smaller scale than the object being represented.
Miniature
91
Use of highly simplified form devoid of representation or expressive content.
Minimalism
92
Combined use of several different techniques-such as drawing, painting, and printmaking- in a single work of art.
Multi-media
93
In a 2D art, the depiction of 3D form, usually through indications of light and shadow.
Modeling
94
Having colour scheme based on values of a single hue, perhaps with accents of another colour or neutral colors.
Monochromatic
95
A printmaking process in which an image is painted directly onto a sheet of metal or glass and then transferred onto paper. The process can be repeated with some repainting of the plate, but this is basically a means of creating relatively few prints of an image.
Monotype
96
A recurring pattern in a work of art.
Motif
97
That which is created by artists with no formal training.
Naive art
98
Referring to art that seeks to represent and faithfully the actual appearances of things.
Naturalism
99
In church architecture, the central hall.
Nave
100
The late 18th and early 19th century return to classical aesthetics in Europe.
Neo-Classicism
101
A contemporary art movement in which painting is used to expresx the artist's feelings, projected as distorted images from the exterior world.
Neoexpressionism
102
Referring to art that does not represent any known object.
Nonobjective
103
Referring to German art from c. 1500, when the individualistic and rational aspects of the individualistic and rational aspects of the Italian Renaissance were adopted to north European styles.
Northern Renaissance
104
A commercial printmaking process in which the inking of illustrations and texts is offset from the plate onto a rubber-covered cylinder that transfers them to paper so that the printed image reads the same as the origninal rather than being reversed.
Offset Lithography
105
In linear perspective, the representation of parallel lines converging to a single point on the horizon, to create the illusion of deep space.
One-point perspective
106
Paintings that produce visual phenomena in the perception of the viewer that do not actually exist on the canvas.
Op Art
107
Use of an unlimited range of colors in juxtaposition.
Open Palette
108
Those in which colors are mixed in the viewer's perception rather than in physically mixed pigments.
Optical Color Mixtures
109
Unique works created by untrained people who do not fit into any aesthetic tradition.
Outsider art
110
The final layers in an indirect painting, such as glazes or scumbling.
Overpainting
111
In classical archetecture, the triangular area at the front of a building; also a similarly-shaped area used decoratively over a window, door, or portico.
Pediment
112
One of the precursors of modern photography, an image made by laying objects on light sensitive paper and exposing it to sunlight, leaving the masked areas white while the rest of the paper turns dark.
Photogram
113
Art that is as representational as a photograph, but created by other media, also called super realism.
Photorealism
114
The flat surface of a 2D work, often conceived as a transparent window into 3D space.
picture plane
115
Powdered colored material used to give hues to paints and inks.
Pigment
116
A simple means of using the hands to shape a ceramic vessel from a lump of clay.
Pinching
117
To hammer metal smooth
Planish
118
Referring to a printmaking technique in which images are transferred from a flat surface, as in lithography
Planographic
119
An arch formed by the intersection of two curves of greater radius than that of the opening; an innovation introduced in gothic architecture.
Pointed Arch
120
A stepped pyramid with a temple on top.
Ziggurat
121
A print made by cutting the end-grain of a piece of wood, capable of rendering finer lines than the lengthwise grain used for woodcuts.
Wood engraving
122
A print made by carving away areas of a wood block and inking the remaining relief surfaces.
Woodcut
123
A method of creating forms of clay by centering a mass of clay on a circular slab and then pulling the sides up from it with the hands as this wheel is turned.
Wheel Throwing
124
A transparent water-soluble painting medium consisting of pigments bound with gum.
Watercolour
125
The wedgeshaped stones in an arch.
Voussoirs
126
The apparent heaviness of an area of design.
Visual Weight
127
The color frequencies that humans can see.
Visible Spectrum
128
A thin surface layer, such as a fine wood placed over other woods.
Veneer
129
A fine parchment prepared from the skin of a calf, kid, or lamb.
Vellum
130
Degree of dark or light.
Value
131
Referring to canvas that has not been treated with a glaze or filler, leaving it porous to paint.
Unsized
132
Visual coherence in a work of art; also used sometimes to refer to repetition of similar motifs in a design, in contrast to variety.
Unity
133
The initial layers of paint in indirect painting.
Underpainting
134
The art of designing, sizing, and combining letterforms on a printed page.
Typography
135
In linear perspective drawings, the representation f a three dimensional form viewed from an angle, so that the lines formed by its horizontal edge will appear to diminish.
Two-point Perspective
136
In architecture, a framework of wood or metal beams, usually based on triangles, used to support a roof or a bridge.
Truss
137
Work that "decieves the eye" into believing it sees something other than the reality of a surface. Such as architectural forms on what is actually a flat wall or ceiling.
Trompe l'oeil
138
The use of three hues lying at equal distances from each other on the color wheel.
Triad color scheme
139
The abrupt or gradual change from one portion of equal design to another.
Transition
140
The degree to which a work (particularly a photograph) approaches the full range of values from black through grays to white.
Tonal Range
141
In a traditional Japanese home, an alcove devoted to contemplation of a single scroll painting, perhaps accompanied by a flower arrangement.
Tokonoma
142
The small cubes of colored glass, ceramic, or stone used in mosaics.
Tesserae
143
Hues that are a mixture of a primary and a secondary hue lying next to each other on the color wheel.
Tertiary Hues
144
A measure of the ability of a material to be stretched without breaking.
Tensile Strength
145
A painting medium in which pigments are mixed in water with a glutinous material such as egg yolk, usually weilding a fast drying, matt finish that cannot be mixed.
Tempera
146
A heavy, handwoven textile with pictures woven into the surface of the fabric, usually used as a wall hanging.
Tapestry
147
Liquid media in which industrially created chemicals, such as acrylic emulsion, are used to carry the pigments.
Synthetic Media
148
A system of optical color mixing in which new hues are created in the space between colored figures.
Synergistic color mixing
149
Distribution of equal forces around central point or axis, also called formal balance.
Symmetrical Balance
150
Art based on dreamlike images from the subconscious, appearing as a recognized movement beginning in the 1920s.
Surrealism
151
The solid material base on which a 2D work of art is executed. such as canvas or panel in the case of a painting.
Support
152
That which is created by the provess of carving away material to reveal the desired form.
Subtractive sculpture
153
The combination of reflected colours.
Subtractive color mixing
154
In classical Greek architecture, the flat base on which a series of columns rests.
Stylobate
155
Referring to distortion of representational images in accordance with certain artistic conventions or to emphasize certain design qualities.
Stylized
156
Cermaics made from clays that become very hard when fired at high temperatures.
Stonewere
157
Use of dots in a drawing or engraving to develop areas of a particular value, usually to suggest three dimensional form.
Stippling
158
A 2D representation of a group of inanimate objects such as fruit flowers and vessels.
Still-life
159
A mass that appears inert
Static Form
160
One of the stages of an etching, if printed separately.
State
161
A structural spanning the corner of a tower to help support a superstructure such as a dome.
Squinch
162
The area occupied, activated, or suggested by a work of art.
Space
163
In 2D work ,blending of hues where they meet, so that no hard line forms a boundary between them.
Soft-edged
164
A mixture of clay and water.
Slip
165
The process of building a foprm of clay by attaching flat shapes to each other.
Slab Building
166
In early Greek theaters, the building at the back of the performance area from which actors entered and exited, also used a s a changing room and as a backdrop for the action.
Skene
167
A coating or glue or resin to make a surface such as canvas less porous so that paint will not sink into it.
Sizing
168
The illusion that an image would feel a certain way if touched, in contrast to the reality of its actual texture.
Simulated texture
169
A drawing medium in which a finely pointed rod of silver encased in a holders is used to make marks on a slightly abrasive surface; the minute deposit of metal darkens by oxidation.
Silverpoint
170
A printmaking process in which link is pressed through a fine screen in areas that are not masked by a stencil or other material; also called serigraph.
Silkscreen
171
The darkening of an area in a 2D work to suggest curving of a 3D form away from a light source.
Shading.
172
Softly graded tones in an oil painting, giving a hazy atmospheric effect, highly developed in the work of Leonardo da Vinci.
Sfumato
173
Froms developped across the surface of a larger form.
Secondary Contours
174
In oil painting, the technique of brushing one layer of paint on top of another in a way that reveals some of the undercolor.
Scrumbling
175
Difference in size of objects, used in paintings to suggest 3D depth in space, with the nearest ones being largest.
Scale Change
176
The relative brightness or dullness of a color, also called chroma or intensisty.
Saturation
177
Referring to a typeface that has no fine lines finishing the major strokes.
Sans Serif
178
An arch formed by a semicircle, an innovation introduced by Roman architecture and much used in Romanesque architecture.
Round Arch
179
A circular building or room, especially one with a dome.
Rotunda
180
The tendency to emphasize emotion and imagination rather than logic, ocurring at many times in the history of Western Art, including the first half of the 19th century. Traditionally contrasted with classicism.
Romanticism
181
A style of European art from about the eleventh century to the beginning of the Gothic period, most notable for its architecture of round arches, thick walls and columns, and stone relief carvings.
Romanesque
182
The late Baroque period, particulary in France, Southern Germany, and Austria, characterized by extrremely ornate, curvilinear forms in architectural decoration and delicay and looseness in painting.
Rococo
183
In architecture, a masonry ceiling in which arched diagonal ribs from a framework that is filled with lighter stone.
Ribbed Vault
184
The waxy, acid-resistant substance used to coat the metal plate used for etching, into which the lines of the image are drawn.
Resist
185
Referring to artworks that aim to present likenesses of known objects.
Representational
186
The working of a sheet of metal from the back to create designs in relief on the front.
Repousse
187
A movement beginning in the 15th century Italy to recapture the harmony, symmetry, and rationality of Classical works, with an elaboration of linear perspective.
Renaissance
188
A sculptured work in which an image is developed outward or inward from a 2D surface.
Reliefs
189
A color relief print in which portions of a single block are cut away in stages, with each stage overprinted in another color, rather than creating a series of registered blocks for the various colours.
Reduction Print
190
The attempt in art to capture the appearance of life as it is, as opposed to stylized or romanticized portrayals. In mid 19th century France, the artisitic movement of this name concentrated on subjects from everyday, and often working class, life.
Realism
191
In metal working, to hammer a flat sheet over a stake to bring up the sides of a vessel and work them inward.
Raise
192
Symmetric arrangement of design elements around the center of a circle.
Radial Balance
193
Chubby nude male babies often depicted in Italian art from the 15th century onward.
Putti
194
The arch that frames the stage, hiding the mechanics.
Proscenium arch
195
Highly selective use of only a few colours.
Limited palette.
196
A print made by cutting lines into a plate of metal, forcing ink into them, and printing the cut lines.
Line engraving
197
The illusion of deep space in a 2D work through convergence of lines perpendicular to the picture plane toward a vanishing point in the distance.
Linear Perspective
198
A print made by gouging away areas of a linoleum block that are not to be linked and printed.
Linocut
199
A fluid base used to carry pigments for painting or drawing, such as ink, oil, or acrylic emulsion.
Liquid medium
200
A printmaking technique in which a flat stone or metal or plastic plate is drawn on with a greasy substance that retains ink when the wettened plate is inked for printing.
Lithography
201
The color usually associated with an object, as seen from nearby under normal daylight without shadows or reflections.
Local Color
202
The degree of light or darkness seen on an actual surface.
Local value
203
A casting process in which was is used to coat the insides of molds and then melted away when the molds are assembled, leaving an empty space into which molton metal is poured; also called cire perdue.
Lost-wax
204
Sculpture in which figures exist on almost the same plane as the background.
Low relief
205
A circular symbolic spiritual pattern.
Mandala
206
An artisitc style in Italy from approximately 1525 to 1600 in which artists developed a more subjective, emotional, theatrical approach than in the high preceding High Renaissance period.
Mannerism
207
A small model used for planning and guiding the creation of a sculpture.
Maquette
208
An intaglio printmaking technique in whjich an overall burr is raised on the surface of the metal plate and then smoothed in places, creating various tones and textures.
Mezzotint
209
A work of art done on a much smaller scale than the object being represented.
Miniature
210
Use of highly simplified form devoid of representation or expressive content.
Minimalism
211
Combined use of several different techniques-such as drawing, painting, and printmaking- in a single work of art.
Multi-media
212
In a 2D art, the depiction of 3D form, usually through indications of light and shadow.
Modeling
213
Having colour scheme based on values of a single hue, perhaps with accents of another colour or neutral colors.
Monochromatic
214
A printmaking process in which an image is painted directly onto a sheet of metal or glass and then transferred onto paper. The process can be repeated with some repainting of the plate, but this is basically a means of creating relatively few prints of an image.
Monotype
215
A recurring pattern in a work of art.
Motif
216
That which is created by artists with no formal training.
Naive art
217
Referring to art that seeks to represent and faithfully the actual appearances of things.
Naturalism
218
In church architecture, the central hall.
Nave
219
The late 18th and early 19th century return to classical aesthetics in Europe.
Neo-Classicism
220
A contemporary art movement in which painting is used to expresx the artist's feelings, projected as distorted images from the exterior world.
Neoexpressionism
221
Referring to art that does not represent any known object.
Nonobjective
222
Referring to German art from c. 1500, when the individualistic and rational aspects of the individualistic and rational aspects of the Italian Renaissance were adopted to north European styles.
Northern Renaissance
223
A commercial printmaking process in which the inking of illustrations and texts is offset from the plate onto a rubber-covered cylinder that transfers them to paper so that the printed image reads the same as the origninal rather than being reversed.
Offset Lithography
224
In linear perspective, the representation of parallel lines converging to a single point on the horizon, to create the illusion of deep space.
One-point perspective
225
Paintings that produce visual phenomena in the perception of the viewer that do not actually exist on the canvas.
Op Art
226
Use of an unlimited range of colors in juxtaposition.
Open Palette
227
Those in which colors are mixed in the viewer's perception rather than in physically mixed pigments.
Optical Color Mixtures
228
Unique works created by untrained people who do not fit into any aesthetic tradition.
Outsider art
229
The final layers in an indirect painting, such as glazes or scumbling.
Overpainting
230
In classical archetecture, the triangular area at the front of a building; also a similarly-shaped area used decoratively over a window, door, or portico.
Pediment
231
One of the precursors of modern photography, an image made by laying objects on light sensitive paper and exposing it to sunlight, leaving the masked areas white while the rest of the paper turns dark.
Photogram
232
Art that is as representational as a photograph, but created by other media, also called super realism.
Photorealism
233
The flat surface of a 2D work, often conceived as a transparent window into 3D space.
picture plane
234
Powdered colored material used to give hues to paints and inks.
Pigment
235
A simple means of using the hands to shape a ceramic vessel from a lump of clay.
Pinching
236
To hammer metal smooth
Planish
237
Referring to a printmaking technique in which images are transferred from a flat surface, as in lithography
Planographic
238
An arch formed by the intersection of two curves of greater radius than that of the opening; an innovation introduced in gothic architecture.
Pointed Arch
239
A technique of painting using dots of primary and secondary hues in close juxtaposition to make them in the viewer's perception. Also called divisionism.
Pointillism
240
The place from which a 2D scene is reported.
Point of view
241
A movement beginning in the mid 20th century that uses objects and images from the commercial culture.
Pop art
242
A covered colonnade at the end of a building in classical architecture.
Portico
243
An architectural construction system in which upright members support horizontal members, or lintels.
Post and Lintel
244
Transcendence of the percieved limitations of impressionism by mid 19th and early 20th century artists such as Cezanne, Seurat, Gauguin, and Van Gogh.
Post-impressionism
245
An architectural movement of the 1970's and 80's countering the glass boxes of the international stlye with more historically eclectic forms.
Post-modernism
246
The outer edges of a form.
Primary contours
247
Principles of Design
The organizing of visual arts: repetition, variety, contrast, rhythm, balance, compositional unity, emphasis, economy, proportion, and relationship to the environment.
248
An image made by transferring ink from a worked surface onto a surface, usually paper, and usually in multiples.
Print
249
Size relationships of parts to each other and to the whole.
Proportion
