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| Those forms carved out of space by positive forms. |
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| The size and impact of the field in which a three-dimensional work is experienced. This field may not stop at the physical boundaries of the work. |
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| The illusionary line between a figures eyes and something at which it appears to be looking. |
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| The area controlled by a three-dimensional piece, including not only its form but also a subtly energized but physically unfilled area in or around the work. |
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| Three-dimensional art design to engage the viewer physically. |
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| The size of an object in relationship to other objects and to its surroundings |
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| Very large, imposing works of art that may or may not serve memorial purposes. |
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| Exaggeration of the illusionary convergence of parallel lines toward the horizon, used in set design to make a shallow space appear deeper. |
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| The optical illusion that parallel lines converge toward a distant vanishing point |
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| The optical illusion that areas closer to the viewer are sharper in detail, color intensity, and value contrast than areas further away, sometimes used intentionally by artists to create illusions of spatial depth. |
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| Of or relating to a line or lines. |
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| An area whose length is considerably greater then its width |
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| A unfilled area with a linear quality |
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| Large scale sculptures in which the surface of the earth is the medium. |
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| A boundary where two planes meet |
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| The line described by the outer boundary of a form |
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| A line in a work that is subtly perceived by the viewer but that has no physical form. |
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| To scan or perceive a work of art in a particular way or with particular understanding. |
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| A degree of lightness or darkness |
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| A brightly lit area that appears as a luminous spot on a work. |
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| The representation of gradations of value as a series of equal steps from black to white. |
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| An analysis of where natural lighting will create shadows at different times of day and different seasons at a particular location. |
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| A illusory wave like pattern |
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| Creation of a work of art by carving away the excess from a larger piece of material. |
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| A rounded knotty growth on a tree. |
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| A piece having a relatively closed form that reflects the single stone or block of wood from which it was carved. |
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| A mass penetrated by negative spaces. |
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| The bands of color seen when whit light is passed through a prism. |
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| The humanly perceptible bands of color light created when white light passes through a prism |
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| When white light strikes an opaque surface |
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| A powder that is the coloring ingredient for paint or other color media. |
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| A very light value of hue |
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| Colors mixed visually, as when hues are closely juxtaposed in space or when transparent layers of different colors are overlaid. |
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| Mixtures of light to create colors, called "additive", since each colored light adds its energy to the mixture, raising its value slightly |
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| A two dimensional circular model of relationships among hues. |
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| The characteristic of color identified by color names, such as red and blue |
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| Those basic hues from which all other hues can be mixed. Red, Yellow, Blue. |
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| The hues created by mixing two primary colors together. |
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| A measure of the relative purity and brightness or grayness of a color. |
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| The hues created when a primary and a secondary color are mixed. |
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| Hues that are opposite each other on a color wheel. When mixed they gray or neutralize each other, when juxtaposed they intensify each other. |
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| Colors of very low saturation, approaching grays. |
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| The principle that the juxtaposition of two colors exaggerates their differences and reduces teir similarities. |
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| The natural color of an object. |
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| A method of painting with pigment bearing hot wax |
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| Reds, oranges, and Yellows |
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| A color scheme using closely related colors derived from a single hue but perhaps varying in value and saturation. |
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| A color scheme using closely related colors derived from a single hue but perhaps varying in value and saturation. |
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Definition
| Hues lying next to each other on a color wheel |
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Definition
| A one-dimensional, simple character who does not change during the course of the story. |
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| Multidimensional, complex, shows development |
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| A stick figure, a stereotypical character (such as the librarian, or the politician) |
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Definition
| A character whose behavior or personality serves to enhance our understanding of another character, usually through contrast. |
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Term
| 1st person narrator (participant) |
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Definition
| Uses "I" a form of first-person narration where all of the narrator's thoughts are presented as they run through the thinkers mind. |
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Term
3rd person narrator (nonparticipant)
Omniscient |
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Definition
| The narrator knows all of the thoughts and behaviors of all of the characters and can be in more than one place at a time. |
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Term
3rd person narrator
Selective Omniscience |
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Definition
| The narrator knows the thoughts of only one or two of the characters. |
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Term
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Definition
| The narrator has an opinion. His commentary judges the character's behavior. |
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Definition
| The narrator offers no judgement about the action, and instead just relates the facts. |
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| One whose opinions and commentary are accurate and can be trusted. |
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| One whose opinions and commentary cannot be entirely trusted. May be inaccurate because of extreme innocence (as a child), disease, or other mental capacity. |
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| The message or central point of the story. |
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| The arrangements of events that occur. |
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| Setting forth of the situation. |
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| Complication that moves to a climax. |
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| The turning point in the story. |
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| outcome of the conflict, aka resolution. |
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| A hint of what is to come. |
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| A shift in time to an event in the past. |
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| The writers manner of expression, including word choice. |
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| Location and time of the story, including time of day, time of year, and the zeitgeist of the era. |
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| Occurs when something in the story has a meaning or significance that goes beyond its usual or immediate meaning. |
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| Describing some person in the story or novel. |
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| Things made up, imagined, manufactured. |
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| Novelists and Short story writers. |
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| Historians, Biographers, Journalists. |
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| The WORD "Story" comes from? |
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| Separating into parts in order to better understand the whole. |
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| A line by line or episode by episode commentary on what is going on in a text. |
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