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| Basic shape and configuration of an object or space |
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| Often the way we first distinguish one thing as being different from another |
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| Creates order, establishes mood, coordinates the diverse components of a finished space |
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| Generated with lines, planes, volumes, and points |
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| An object or form whose actual or visual length greatly exceeds any actual width or depth it may have |
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| Formed and perceived where one plane meets another, where edges occur, and where there is a change in material, texture, or color |
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| Perceived as restful, stable, related to the plane of the earth |
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| Connotes strength, equilibrium, permanence, strong upward movement |
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| Dynamic, often represent movement |
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| Relate to the natural world and the human body; graceful and suggest gentle movement |
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| A form with 2 dominant dimensions, length and width |
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| Clearly perceived as a spatial form having length, width, and depth; can be solid or void; sometimes referred to as positive or negative space |
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| Has definite shape and is usually categorized as regular, irregular, or by a dominant characteristic |
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| A unique characteristic of an object or space that defines it as distinct from adjacent objects or spaces |
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| Clearly distinguished by planar or volumetric forms |
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| Can be geometric, irregular, or natural |
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| Relative size of something as related to another element of known size |
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| Relationship between parts of a composition to each other and to the whole |
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| Objects and spaces are judged relative to the size and form of the human body |
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| Physical property of visible light that is one part of the larger electromagnetic spectrum |
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| How is one color differentiated from another? |
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| Which color has the longest wavelength and which has the shortest? |
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Definition
Red = longest
Violet = shortest |
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| When all colors of light are present in equal amounts what is perceived? |
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| Creating colors with light |
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| Creating colors with pigment |
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| When all colors of a pigment are present in equal amounts, what is perceived? |
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| 3 primary colors of light |
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| 3 primary colors of pigment |
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| 3 basic qualities of color |
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Definition
| Hue, value, intensity (chroma) |
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| Degree of lightness or darkness in relation to white and black |
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| Degree of purity of the hue when compared with a neutral gray of the same value |
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| What happens when white is added to a hue? |
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Definition
| Value is raised, tint is created |
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| What happens when black is added to a hue? |
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Definition
| Value is lowered and a shade is created |
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| What are the 2 ways to create a tone? |
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Definition
1. Adding a gray of the same value to a hue
2. Adding the hue's complement |
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Term
| Primary colors of the Brewster/Prang system |
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| A color mixed from equal amounts of the primary colors |
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| Primary color mixed with an adjacent secondary color |
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| 3 scales of the Munsell system |
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| 5 principal hues of the Munsell system |
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Definition
| red, yellow, green, blue, purple |
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| Colors opposite each other on the color wheel |
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| Effect of complementary colors on each other |
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Definition
-They reinforce each other
-create an afterimage
-one color will induce it's complement in the background
-when adjacent to each other, heighten each other's saturation |
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| Effect of noncomplementary colors on each other |
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Definition
-each appears to tint the other with its own complement
-they will seem farther apart on the color wheel than they really are |
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| Effect of 2 primary colors seen together |
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Definition
| Will tend to appear tinted with the 3rd primary |
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Term
| A light color placed against a darker background will appear lighter than it is, and a darker color on a lighter background will appear darker |
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| Effect of a background color with a second, noncomplementary color placed over it |
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Definition
| The background color will absorb the second color |
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| Effect of a neutral gray placed on a warm or cool background |
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Definition
| Gray will appear the opposite of a background |
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| Effect of light with a strong hue component on colors |
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Definition
| The light will intensify colors with a similar hue and neutralize colors of a complementary hue |
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| Effect of dim or high lighting on a color |
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Definition
-Dim will reduce the value and diminish the hue
-High will intensify hue or make color appear washed out |
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| Effect of bright, warm colors on objects |
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Definition
| The object appears larger |
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| Effect of dark colors on objects |
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Definition
| Object will look smaller and heavier,the values close in |
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| Effect of light, neutral colors on objects |
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Definition
| Extend the apparent space of a room |
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| Effect of warm and cool colors on space |
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Definition
| Warm colors advance, cool colors recede |
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| Color scheme with hue with variations only in intensity and value |
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| Color scheme with a single hue of low intensity (near gray) in one or a very limited range of values |
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| Color scheme that uses hues that are close to each other on the color wheel, generally not extending further than one 90-degree segment on the color wheel |
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| Color scheme in which a color on one side of the color wheel is used with 2 hues that lie on either side of the complementary color |
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| Color scheme which uses colors equally spaced around the color wheel |
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| Color scheme that uses four colors that are equally spaced around the wheel |
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| Surface quality of a material; results from the inherent structure of the material or the application of a coating |
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| Physical quality that can be sensed by touch |
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| What we imagine a surface to be by looking and based on memory |
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| Effect of lighting on texture |
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Definition
-very diffuse lighting or strong direct lighting tends to wash out texture
-strong side lighting emphasizes
-smooth glossy reflects light
-matte/rough textures diffuse and absorb light |
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| Repetition of a decorative motif on a surface |
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| Difference between texture and pattern |
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Definition
| Individual elements of pattern are discernible as individual items, texture appears as an overall tone. From a distance, pattern can blend into visual texture. Texture is considered a 2-d quality of plane surfaces, pattern can be 2-d or linear |
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| Arrangement of elements in a composition to achieve visual equilibrium; dependent upon the idea of visual weight |
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| Identical elements arranged equally about a common axis; vary stable, connotes formality |
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Definition
| Symmetrical balance or bisymmetrical, bilateral, or axial symmetry |
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| Depends on equalizing the visual, or optical, weights of nonsimilar elements in a composition within a visual field or about a common axis; considered informal and dynamic |
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| Type of symmetrical balance in which elements are arranged uniformly about a central point |
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| The agreement of the parts to each other and to the whole; most often achieved by relating a number of different elements through a common characteristic |
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| Repetition of elements in a regular pattern |
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| Type of rhythm where the size, color, or value of design elements are gradually modified as the elements repeat |
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| The way we perceive the difference between things, create importance, and add interest |
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| Relationship between one part of an object or composition and another part and to the whole |
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| Ratio in which a single line is divided into 2 unequal segments such that the ratio of the smaller part is to the larger part as the larger part is to the whole |
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| The golden ratio applied to a rectangle |
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