Term
|
Definition
| A continuum of color formed when a beam of white light is dispersed so that its component wavelengths are arranged in order. (Prism) |
|
|
Term
|
Definition
| Refers to the name of the color (ex. red or blue-green). Independant of intensity or value. |
|
|
Term
|
Definition
| A color whose hue is established by the combining of monochromatic light sources. Used in television or theatre. |
|
|
Term
|
Definition
| Refers to the lightness or darkness of a color |
|
|
Term
|
Definition
| Refers to the brightness of dullness of a color. The dimension of color that measures the brilliance of a hue. Others terms include saturation and intensity |
|
|
Term
|
Definition
| Without color uses. Only blacks, whites and grays |
|
|
Term
|
Definition
| One color (various values and intensities) |
|
|
Term
|
Definition
| Three or more colors adjacent on the color wheel |
|
|
Term
|
Definition
|
|
Term
|
Definition
| Three colors equally distant on the color wheel |
|
|
Term
|
Definition
| Four colors equal distant on the color wheel. |
|
|
Term
|
Definition
|
|
Term
|
Definition
| The tendancy of the human eye to see a hue after looking several minutes at the complementary hue. |
|
|
Term
|
Definition
| The tendency of the human eye to fill in the negative space of an object with the hue of the positive space of that object after looking several minutes at the positive object |
|
|
Term
|
Definition
| The phenomenom by which complementary colors appear to be brighter and more intense when placed side by side |
|
|
Term
|
Definition
| The two-dimensional contour that characterizes an object or area. An image in space |
|
|
Term
|
Definition
| derived from anything in the natural environment, including the human figure. |
|
|
Term
|
Definition
| simplified, modified, altered, distorted or enlarged. Essence of original remains. |
|
|
Term
|
Definition
| The familiar 2-D squares, rectangles circles or triangles or other multisided shapes |
|
|
Term
|
Definition
| These Shapes have no object, no symbol in which to identify. Just shapes. |
|
|
Term
|
Definition
| the object or subject of the design, also called the figure |
|
|
Term
|
Definition
| the empty sapces that form a background, sometimes called the ground |
|
|
Term
| Positive/Negative Ambiguity |
|
Definition
| Occurs when shapes are so integrated that either of the elements can be the figure or the ground, depending on perception |
|
|
Term
|
Definition
| (sometimes called actual) texture that can be felt or appreciated through sense of touch |
|
|
Term
|
Definition
| texture that cannot be felt or enjoyed by touch, but only suggested to the eyes |
|
|
Term
|
Definition
| Shape, Texture, Space, Form and Color |
|
|
Term
|
Definition
| The acual shape and structure of an object. The substance of something as a solid or liquid form |
|
|
Term
|
Definition
| A vehicle in which shapes and forms exist. All physical things exist in space |
|
|
Term
|
Definition
| Pictorial, Illusionary, Actual |
|
|
Term
|
Definition
| A design that is depicted as a flat surface |
|
|
Term
|
Definition
| When one object is placed in front of another, thus hiding a portion of the second view |
|
|
Term
|
Definition
| Objects placed close to the bottom of the disign are "read" as closer to the viewer than objects in the middle or top of the design |
|
|
Term
|
Definition
| All objects in the design are drawn into a system of vanishing points. Two parts of a perspective are the horizon line and they eye-level line |
|
|
Term
|
Definition
| Objects in the distance are grayer in value than objects closer to the viewer |
|
|
Term
|
Definition
| Results when designs are 3-D and space becomes a real and tangible part of the design. |
|
|
Term
|
Definition
| Positive and negative shapes distributed in space by apparent visual wight to create harmony |
|
|
Term
|
Definition
| Balance of any kind dependent upon an axis, or central pole of equilibrium around which forces of an object or structure gravitate |
|
|
Term
|
Definition
| Type of visual equilibrium in which there is a precise correspondence of elements on either side of a center axis or point. Sometimes called formal balance. |
|
|
Term
|
Definition
| Acheived with dissimilar objects that have equal visual wieght or equal eye attraction. |
|
|
Term
|
Definition
| special type of symmetrical balance in which all visual elements are balanced and radiate from a central point |
|
|
Term
|
Definition
| What we want the viewer to see, principle that stresses one feature as the main point in which the other design is coordinated around |
|
|
Term
|
Definition
| Point of emphasis in a design |
|
|
Term
|
Definition
| Point of emphasis in a design |
|
|
Term
|
Definition
| A focal point occurs when one element differs from the others. Attracts the eye with the difference. |
|
|
Term
|
Definition
| A focal point results when one element is separted from all others in a design |
|
|
Term
|
Definition
| A focal point results when many elements point to one item. |
|
|
Term
|
Definition
| Regular pulsation. Word that is used to describe the regular beat that forms the underlying structure in music or poetry |
|
|
Term
|
Definition
| Movement of the eye across recurrent motifs providing repetition. |
|
|
Term
|
Definition
| Simple repetition of a "beat" as heard in tapping a pencil or the beat of a drum |
|
|
Term
|
Definition
| A rhythmic pattern of a beat in which every other beat is emphasized. |
|
|
Term
|
Definition
| A repetitive pattern in which the elements change gradually and sequentially throughout the design |
|
|
Term
|
Definition
| Elements repeated in slower, smoothly connceted pattern |
|
|
Term
|
Definition
| Elements repeated in slower, smoothly connceted pattern |
|
|
Term
|
Definition
| Repeated elements revolving around a central core |
|
|
Term
|
Definition
| Agreement based on some agreement between elements that is apparent to the eye |
|
|
Term
|
Definition
| Another term for unity. Congruity that exists in a design |
|
|
Term
|
Definition
| A theory of visual perception derived from psychological research during this century. A unified configuration or pattern of visual elements whose properties cannot be derived from a simple summation of it's parts |
|
|
Term
|
Definition
| Viewer tends to group objects that are close to each other in a larger unit. Viewer will tend to relate group objects of a similar shape. Viewer will close space between similar elements to form an organized design. |
|
|
Term
|
Definition
| The degree of closeness in the placement of elements in a composition |
|
|
Term
|
Definition
| Using the same visual elemnt over again within the same composition |
|
|
Term
|
Definition
| A line or edge that continues from one form to another, allowing the eye to move smoothly through a composition |
|
|
Term
|
Definition
| The visual relationship between two or more individual designs |
|
|
Term
|
Definition
| Layout structure which can provide an underlying repetitive division of space, yet allow for variation to enliven the patter. |
|
|
Term
|
Definition
| denotes size in relation to an accepted unit of measurement. Another word for size |
|
|
Term
|
Definition
| Refers to size of relationships of parts within a whole |
|
|
Term
|
Definition
| Uses human body as the unit. |
|
|
Term
|
Definition
| Use of size differences to dipict importance |
|
|
Term
|
Definition
| The use of size differences to attract attention within a design. |
|
|
Term
|
Definition
| Formulas for ideal proportions have long guided designers in creating the "ideal" human figure or ideal structure |
|
|
Term
|
Definition
| Considered the perfect rectangle, "Width is to length as length is to length plus width |
|
|
