FUNDAMENTALS OF ART TERMS
Elements and Principles of Design
Elements of Art - are the things that artists and designers work with to create a design, or composition
1.
2.
3.
4.
5.
6.
7.
LINE - A mark with length and direction(s). An element of art which refers to the continuous mark made on some surface by
a moving point. Types of line include: vertical, horizontal, diagonal, straight or ruled, curved, bent, angular, thin, thick or
wide, interrupted (dotted, dashed, broken, etc.), blurred or fuzzy, controlled, freehand, parallel, hatching, meandering, and
spiraling.
SHAPE - is a 2-dimensional line with no form or thickness. Shapes are flat and can be grouped into two categories,
geometric and organic.
FORM - a 3-dimensional object having volume and thickness. It is the illusion of a 3-D effect that can be implied with the
use of light and shading techniques. Form can be viewed from many angles
VALUE - is the degree of light and dark in a design. It is the contrast between black and white and all the tones in between.
Value can be used with color as well as black and white. Contrast is the extreme changes between values.
SPACE - refers to the distance or area between, around, above, below, or within things. It can be described as twodimensional or three-dimensional; as flat, shallow, or deep; as open or closed; as positive or negative; and as actual,
ambiguous, or illusory.
TEXTURE - is about surface quality either tactile or visual. Texture can be real or implied by different uses of media. It is
the degree of roughness or smoothness in objects.
COLOR - Produced by light of various wavelengths, and when light strikes an object and reflects back to the eyes. Has
three properties:
1. Hue, the color name, e.g., red, yellow, blue, etc.:
2. Intensity, the purity and strength of a color, e.g., bright red or dull red
3. Value, the lightness or darkness of a color.
Principles of Design - arrangement of elements of art in the production of a work of art. Artists "design" their works to varying
degrees by controlling and ordering the elements of art
1.
2.
3.
4.
5.
6.
7.
8.
9.
BALANCE - (the several kinds: symmetry, asymmetry, and radial) refers to the way the elements of art are arranged to
create a feeling of stability in a work; a pleasing or harmonious arrangement or proportion of parts or areas in a design or
composition.
EMPHASIS - Any forcefulness that gives importance or dominance (weight) to some feature or features of an artwork;
something singled out, stressed, or drawn attention to
CONTRAST - offers some change in value creating a visual discord in a composition. Contrast shows the difference
between shapes and can be used as a background to bring objects out and forward in a design. It can also be used to create an
area of emphasis
MOVEMENT - is a visual flow through the composition. This can either be actual motion or it can be implied — the
arrangement of the parts of an image to create a sense of motion by using lines, shapes, forms, and textures that cause the eye
to move over the work.
PATTERN - (often paired with rhythm) The repetition of anything — shapes, lines, or colors — also called a motif, in a
design
PROPORTION - refers to the comparative, proper, or harmonious relationship of one part to another or to the whole with
respect to size, quantity, or degree; a ratio.
RHYTHM - (often paired with pattern) is a movement in which some elements recurs regularly. Like a dance it will have a
flow of objects that will seem to be like the beat of music.
UNITY - The quality of wholeness or oneness that is achieved through the effective use of the elements and principles of
design. A totality that combines all of its parts into one complete, cohesive whole.
VARIETY - refers to a way of combining elements of art in involved ways to achieve intricate and complex relationships.
Variety is often obtained through the use of diversity and change by artists who wish to increase the visual interest of their
work.
Page | 1
Critique - critical review or discussion, in particular, for our purposes, one dealing with works of art. The description,
analysis, evaluation, and judgment of works of art.
4 Part Written Critique (see good and bad examples)
DESCRIPTION
1. Title of artwork
2. Medium
3. Measurements of artwork
4. Date completed
5. Hours spent on the work
6. Factual information such as “the image is of a child holding a lollipop”
ANALYSIS- Use the Elements of Art and Principles of Design to write a reflection. Be sure to discuss the composition of
the work.
Is there a focal point?
Elements of Art- Line, shape, space, form, texture, color, and value
Principles of Design- Unity, pattern, rhythm, contrast, emphasis, balance, movement, harmony, proportion, repetition
INTERPRETATION/MEANING What is your artwork about? Don’t make this up! If your work is an observation drawing,
it may not have a “deep” meaning, but you can still talk about what your goals were. For example “I was interested in
drawing a still-life using repetition of form and color to create a whimsical rhythm throughout the piece.” Include
what/who inspired this work of art.
EVALUATION – How good is the artwork? Were you successful in accomplishing your desired outcome? How are you
going to improve the artwork? What would you do differently next time? What did you learn from this work of art?
Page | 2
Art Synectics –
SYNECTICS: brining different things into real connection
ANALOGIES: “according to ratio” - implies any similarity between things that are otherwise unlike.
1. Logical Analogy – similarities in design, structure or function
 Duck compared to boat
 Tree compared to vascular system
 Bird compared to plane
2.
Synaesthetic Analogy – sensory comparisons of an interdisciplinary nature; perceptions of touch, sound, vision, taste or smell.
3.
Affective Analogy – emotional resemblances
 Offensive person as a snake
 Beautiful girl as a flower
 Timid as a mouse
4.
Paradoxical Analogy – (Paradox - is an apparently true statement or group of statements that leads to a contradiction)
 “loud silence”
 “the living dead”
 “organized confusion”
MENTAL IMAGES:
1. Memory Images – recollection of the past
2. Imaginary Images – mental reconstructions of past experiences, radically rearranged by subconscious
3. Hypnogogic Images – imaginary images usually between wake and sleep
4. Dreams – REM cycle
5. Hallucinations – sleep deprivation, intense concentration, meditation, drugs
6. After Images – sensory over stimulation
TRANSFORMATIONS: Operational Techniques
1. Magnification - The “reconstruction” of a subject matter on a much larger scale than that of the original
2. Minification - Making an object appear smaller
3. Multiplication - Repeating images or forms within a composition
4. Substitution - Changing the original qualities of objects and surfaces (concrete pillow, wooden light bulb)
5. Distortion - Changing an object or image by deformation, distortion or progressive state of degradation (burned,
dissolved, decomposed, crushed, cracked, etc…)
6. Fragmentation - Splitting or sectioning objects or images (partially developed, dismembered, splitting planes)
7. Metamorphosis - Depicting images or forms in progressive states of change
8. Transference - The intrusion of an object or element into a space or environment not normally its own
9. Reversals - Reversing function, color perspective, size…etc…
10. Partial Delineation - drawing, carving, or presenting only a portion of an image in it finished state
11. Disguising - use of latent hidden images – wrapping, masking, camouflaging
12. Transmutation - radical form of metamorphosis
13. Simultaneity - presenting several views or time modes simultaneously
14. Soft Focus - changing focus of all or parts of an image, blurred edges or contour lines
15. Collapsing Volume - rendering 3-D subjects to appear flat or transparent
16. Animation - inanimate object “come to life”
17. Progressive Image Breakdown - subjecting an image to treatment that tends to deteriorate, obscure, or progressively
breakdown into simple shape or patterns
18. Positive-Negative Reversal - using the photographic negative rather than the print
Page | 3
Drawing Techniques
Media Covered:
Pencil: HB, 2B, 4B, 6B, ebony
Contour Line
Conte Crayon
Blind Contour Line
Charcoal
Gesture Line
Sharpie
Measuring techniques, view finder
Pen & Ink
Five Values: highlight, area of illumination, half shade, deep shade, cast shadow
Colored Pencils
Value Scales:
Chalk
Blended - light, smooth strokes of the drawing instrument to create smooth of shading.
Oil Pastel
Stipple - Light dots are created on the area which requires shading and, much like crosshatching, the dots are built upon, overlapped and made darker to indicate different
shading tones.
Crosshatch - Generally it is formed from a series of intersecting lines. To go from light
Hatching - can be achieved by using a quick back and forth motion with the pencil.
Scumble - This is the circular technique. The pattern is made by moving your pencil in a circular motion.
Figure Drawing – proportions of figure; manikins and from clothed model
Still Life’s
Self-Portraits – proportions of face
Perspective – one-point/two-point
Overlapping/Layering
Composition - the placement or arrangement of visual elements or ingredients in a work of art or a photograph, as
distinct from the subject of a work
Color Theory
Color - Produced by light of various wavelengths, and when light strikes an object and reflects back to the eyes.
Hue - The name of any color as found in its pure state in the spectrum or rainbow, or that aspect of any color.
Intensity - The brightness or dullness of a hue or color.
Primary colors - The colors yellow, red (magenta), and blue (cyan) from which it is possible to mix all the other colors of the
spectrum
Secondary colors - The colors obtained by mixing equal amounts of two primary colors.
Intermediate colors - Also known as tertiary color, they are produced by mixing unequal amounts of two primary colors
Tint - A soft and light color — one to which white has been added
Shade - a color having low lightness and low saturation; add black
Color Schemes:
Complementary - Two colors that are opposite each other on the color wheel.
Analogous - Uses colors that are adjacent to each other on the color wheel.
Monochromatic - A painting, drawing, or print in one color, including that color's tints and shades
Warm colors - red, orange and yellow
Cool colors - green, blue and violet
Neutral colors - are not seen on most color wheels. Black, gray, whites are neutral. Browns, beiges and tans
Split Complementary - uses a color and the two colors adjacent to its complementary
Triadic - three colors equally spaced around the color wheel
Tetradic - (Double Complementary) uses two complementary color pairs
Painting Techniques
Media Covered:
Tempera
Acrylic
Watercolor
Ink
Collage
Tools:
Flat: is characterized by its long flat bristles. Used for long fluid strokes and can be used to create a sharp edge.
Filbert: much like the flat, but with a slightly rounded edge. This brush can create softened strokes with rounded edges.
Round: characterized by its round barrel and staggered bristle lengths. Used for long continuous lines. Makes interesting edges
when rolled in the hand as the brush stroke is applied.
Bright: characterized by its short flat bristles. For controlled detailing and can be used to create sharp edges.
Fan: characterized by its fanned out flat bristles. Used for soft edges and subtle blending.
Palette knife: tool can be used for mixing paint on the palette, for scraping off paint, and for applying paint to the canvas.
Page | 4
Watercolor:
Wash - A thin, translucent layer of pigment, usually watercolor. Often it is the background of a picture; prepared using watery
paint applied quickly using large, sweeping brushstrokes. A wet area of wash can be made lighter by blotting.
wet-into-wet - apply wet paint into wet surface, another color or ground; when paint & surface are both very wet, paint spreads &
bleeding occurs.
wet-over-dry - wet color applied over dry one, will stay where you put it; start with lightest colors, first color will show through
the second color.
glaze - the application of a wash over a dry underpainting. a thin, translucent or transparent coat over a painting, sometimes meant
simply to protect the paint underneath, but more often to add a veil of coloration to an area of a picture.
masking - using masking fluid to keep areas white; use old brush as mask ruins ferrule; apply mask to dry ground, allow mask to
dry before painting, use clean water.
lifting - to lighten a color or correct a mistake: blot wet paint with clean tissue, or damp sponge; if paint has dried, rewet area with
clean water first; to remove color in specific area, use a stiff bristle brush that's slightly damp with clean water; staining pigments
won't be lifted completely
Page | 5
Ceramics
Clay
Wedge
Score
Slip
Coil
Pinch
Slab
Wheel thrown
Firing
Kiln
Glaze/Underglaze
Plastic stage
Leather hard
Greenware
Bone dry stage
Bisque
Glazeware
Functional
Sculptural
Additive
Subtractive
Mud; moist, sticky dirt
To work the damp clay with the palms of the hands against a smooth surface to make the clay uniform in
consistency
To make scratches or creases in pieces of clay to be joined together. Scoring and applying slip to such
roughened surfaces creates a bond that holds the pieces together. If slip acts as an adhesive
An opaque, creamy liquid made by mixing finely ground clay with water
The process of forming a pot from rope-like rolls of clay carefully joined together
The process of forming the clay by pinching it between the fingers to form the pot
The process of forming a pot from pieces of clay rolled or patted to even thickness and cut and joined to
make the desired pot form
The term throw comes from Old English meaning spin. A piece of clay is placed on a potter's wheel head,
which spins. The clay is shaped by compression while it is in motion.
A process of applying heat to make hard pottery in either an oven or an oven-like enclosure called a kiln.
Also the means of fixing colors to ceramic surfaces.
The furnace in which pots are fired
A term used in ceramics to describe a thin coating of minerals which produces a glassy transparent or
colored coating on bisqueware. Typically applied either by brushing, dipping, or spraying, it is fixed by
firing the bisque ware in a kiln. This makes the surface smooth, shiny, and waterproof.
clay is easily manipulated and bent
The stage of drying when the clay is no longer workable by hand
Clay pots, which are air dried, but not yet fired (unfired, formed piece)
No visible moisture – no dampness to touch – Clay is ready to be fired
Clay that has been fired once but not glazed (“half baked”)
When a bisqued piece has been glazed and fired
Refers to the intended use or purpose of an object.
A three-dimensional work of art, or the art of making it.
The act of adding
The act of removing
Sculpture
A three-dimensional work of art, or the art of making it. Such works may be carved, modeled, constructed, or cast. Sculptures can also
be described as assemblage, in the round, and relief, and made in a huge variety of media
Three-dimensional - Having, or appearing to have, height, width, and depth
Maquette - a small preliminary model; once the maquette is approved, the sculptor creates the finished piece from permanent
materials.
1.
2.
3.
4.
Assemblage sculpture - A three-dimensional composition made of various materials such as found objects, paper, wood, and
textiles.
Relief sculpture - A type of sculpture in which form projects from a background.
 Bas-Relief: A French term meaning "low-raised work.“
 Alto-relievo: another name for high relief
 Intaglio: hollow-relief, describes an image that is carved into a flat surface
In the round - To be viewed from all sides; freestanding. When referring to sculpture, a type that is surrounded on all sides by
space. The opposite of relief.
Found image, found material, or found object - An image, material, or object, not originally intended as a work of art, that is
obtained, selected, and exhibited by an artist
Page | 6
Digital Photography
The art, craft, and science of producing permanent images of objects on light-sensitive surfaces.
Parts:
1.
2.
3.
Primary Lens Element – lenses refracts (bends) and focuses light onto a computer chip (35mm – onto film)
Logic Board – “brain” location of all computer chips, CPU, memory, etc…
MCU Chip – (microcontroller unit) “the boss” director of processors
Image Sensor – “film” lightproof chamber that responds electronically
Diaphragm or “shutter” – opens and closes to control the amount of light that enters
Digital camera - A camera that directly captures a digital image without the use of film
1. Pixel—(PICture ELement) The smallest element of a digitized image. One small dot of light among the many dots that make up an
image on a computer screen.
2. Megapixel—A unit equal to one million pixels. The higher the resolution, the more pixels in an image and therefore the greater the
image quality. An image file that is 1 megapixel (MP) can make a photo realistic print of 5 x 7 inches; a 2 MP file can make an 8 x
10-inch print; a 3 MP file can make an 11 x 14-inch print.
3. Resolution—The number of pixels in an image. A higher number correlates to a higher quality image.
4. DPI—Dots Per Inch. Number of dots a printer or device (like a monitor) can display per linear inch. For example, most laser
printers have a resolution of 300 dpi, most monitors 72 dpi, most PostScript imagesetters 1200 to 2450 dpi. Photo quality inkjet
printers now range from 1200 to 2400 dpi.
5. PPI—Pixels Per Inch. The number of pixels per linear inch is used to describe image resolution. A higher ppi means more image
detail and correlates to higher image quality. Monitors display images at 72 ppi, inkjet printers require at least 150 ppi to produce
photo realistic prints.
6. Megabyte—An amount of computer memory consisting of about one million bytes. The actual value is 1,048,576 bytes.
7. Kilobyte—An amount of computer memory, disk space, or document size consisting of approximately one thousand bytes. Actual
value is 1,024 bytes.
8. JPEG—A standardized format used by many digital cameras for storing images. This format is also commonly used for images on
the web and images attached to e-mail messages. JPEG, which stands for Joint Photographic Experts Group, the group that
established this file standard, is one of the most widely used formats today. JPEG is a standardized image compression mechanism
designed for compressing full-color or gray scale images of natural, real-world scenes. JPEG uses lossy compression, which can
damage image quality.
9. LCD—Liquid Crystal Display. A full-color display screen on cameras used to preview and review pictures and view information,
such as menu options and camera settings.
10. Memory card—A storage device used to store data, such as picture and movie files. Available in a range of sizes, such as 8 MB, 32
MB, and 256 MB.
11. Digitize—To convert analog information into digital format for use by a computer.
12. GIF - Graphic Image File format. A widely supported image-storage format released in 1987 and promoted by CompuServe. It
gained early widespread use on on-line services and the Internet. An excellent format for graphics used on the World Wide Web
(WWW), and there are animated GIFs too. (JPEG is better for photographs.)
13. TIFF - Tagged Image/Interchange File Format. In digital imaging, a file-storage format implemented on a wide variety of computer
systems. Considered an industry standard, but so open that header information is used in many different ways. Also see GIF
(Graphic Interface Format), JPEG (Joint Photographic Experts Group, and PICT (Macintosh Picture).
Types of Photography:
1. Landscape - An image that portrays the natural environment
2. Organic shape - Shapes based on natural objects such as trees, mountains, leaves, etc.
3. Expressive - Images concerned with communicating a particular emotion.
4. Documentary - Photographs whose main purpose is to record a place, person(s) or event.
Other Terms:
1. Vantage point: the place from which a photographer takes a photograph.
2. Framing: what the photographer has placed within the boundaries of the photograph.
3. Composition: the arrangement or structure of the formal elements that make up an image.
4. Angle: the vantage point from which the photograph was taken; generally used when discussing a photograph taken from an
unusual or exaggerated vantage point.
5. Focus: what areas appear clearest or sharpest in the photograph
6. Light: what areas of the photograph are most highlighted? Are there any shadows? Does the photograph allow you to guess the time
of day? Is the light natural or artificial? Harsh or soft? Reflected or direct?
7. Depth of field
8. Rule of thirds
Page | 7