44. IMPLIED LINE A series of points that the eye recognizes as a line; a perceived line where areas of contrasting color or texture meet.
45. An actual line or implied line that defines the outer limits of a three dimensional object or two-dimensional shape; used synonymously with “outline”.
46. CONTOUR LINE An actual line or implied line that defines the outer limits of a three dimensional object or two-dimensional shape; used synonymously with “outline”.
47. Line that conveys the energy of the artist’s hand as it moves across the drawing surface.
48. GESTURAL LINE Line that conveys the energy of the artist’s hand as it moves across the drawing surface.
100. LINEAR PERSPECTIVE A system of rendering the appearance of three dimensions on a two-dimensional plane by making objects appear smaller as they recede and by making parallel lines converge in the distance at a vanishing point on a horizon line.
101. Where converging lines drawn in linear perspective seem to disappear into a distant dot on the horizon line.
102. VANISHING POINT Where converging lines drawn in linear perspective seem to disappear into a distant dot on the horizon line.
103. Lines or edges in a picture that lead the viewer’s eyes to the vanishing points in an illusional three-dimensional space.
104. ORTHOGONAL LINES Lines or edges in a picture that lead the viewer’s eyes to the vanishing points in an illusional three-dimensional space.
105. A means of rendering three-dimensional objects without reliance on vanishing points or converging lines; scale of objects remains the same regardless of the distance from the foreground and background.
106. ISOMETRIC PERSPECTIVE A means of rendering three-dimensional objects without reliance on vanishing points or converging lines; scale of objects remains the same regardless of the distance from the foreground and background.
107. The technique of representing dimensional space by making objects close to the viewer appear crisp and vibrant and making them fuzzy and less intense in color and tone as they recede.
108. ATMOSPHERIC (AERIAL) PERSPECTIVE The technique of representing dimensional space by making objects close to the viewer appear crisp and vibrant and making them fuzzy and less intense in color and tone as they recede.
117. The degree of value difference in an image; high contrast is a wide separation between dark and light; low contrast is a narrow range of values in an image.
118. CONTRAST The degree of value difference in an image; high contrast is a wide separation between dark and light; low contrast is a narrow range of values in an image.
119. A name of a color family or an area on the color wheel.
120. HUE A name of a color family or an area on the color wheel.
121. The mixing of pigments and dyes so that all colors of light except the color are absorbed (subtracted).
122. SUBTRACTIVE COLOR PROCESS The mixing of pigments and dyes so that all colors of light except the color are absorbed (subtracted).
123. The mixing of colored lights so that they shine on a surface, they combine (add) to make other colors.
124. ADDITIVE COLOR PROCESS The mixing of colored lights so that they shine on a surface, they combine (add) to make other colors.
125. In a color system, the basic colors that cannot be broken down into other colors and that can be combined to create other colors.
126. PRIMARY COLORS In a color system, the basic colors that cannot be broken down into other colors and that can be combined to create other colors.
131. Used synonymously with value. In a scale of values, high-key colors are lighter than colors in the middle of the scale; low-key colors are darker than the colors in the middle of the scale.
132. KEY Used synonymously with value. In a scale of values, high-key colors are lighter than colors in the middle of the scale; low-key colors are darker than the colors in the middle of the scale.