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| A mark with greater length than width. They can be horizontal, vertical, or diagonal; straight or curved; thick or thin. |
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| A closed line. Can be geometric; or organic, free-form natural shapes. They are also flat and can express length and width. |
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| Three-dimensional shapes that express not only length and width, but also depth. Spheres, cylinders, boxes are all forms. |
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| The area between and around objects. The space around is often called negative space; this has shape. Space can also refer to a feeling of depth, the illusion. |
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| How light is reflected off of objects. It has three main characteristics: hue, value, and intensity. |
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| The name of a color; red, green, blue. |
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| How light or dark something is. |
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| How bright or dull it is. |
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| White is pure light and Black is the absent of light. |
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| Primary colours, red, blue, and yellow. |
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| Tertiary colors; yellow green, blue green, blue violet |
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| Contrast because they share no common colors. They neutralize each other to make brown. |
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| Surface quality that can be seen and felt. Do not always feel the way they look. |
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| The distribution of visual weight or objects, colours, texture, and space. |
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| Elements used on one side are similar to those on the other side. |
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| The sides are different, but still look balanced. |
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| Elements are arranged around a central point and may be similar. |
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| Part of design that catches the viewer's attention. Making one area stand out by contrasting it with other areas. Could be different size, colour, texture, shape, etc. |
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| The path the viewer's eye takes through a work of art, often to focal areas. Can be directed by lines, edges, shapes, and colour. |
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| The repeating of an object or symbol all over the work of art. |
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| Works with pattern to make the work of art seem active. Creates unity. |
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| The feeling of unity when all parts relate well with one another. |
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| When one or more elements of design are used repeatedly to create a feeling of organized movement. Creates a mood like music or dance. To keep rhythm exciting and active, variety is essential. |
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| The use of several elements of design to hold the viewer's attention and guide the eye around the work. |
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| The feeling of harmony between all parts of the work giving a sense of completeness. |
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| The examination of the materials used to produce an artwork in order to determine its date. |
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| The examination of written sources in order to determine the date of an artwork, the circumstances of its creation or the identity of the artist(s) who made it. |
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| The examination of what an artwork represents (people, hairstyles, etc.) in order to determine its date. Also the examination of the style of an artwork to identify the artists. |
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| The examination of the style of an artwork in order to determine its date or the identity of the artists. |
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| The characteristic style of a specific time. |
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| The style of a particular geographical area. |
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| The style of an individual artist's unique manner. |
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| Works of art that express a state of mind and can invoke emotions. These kinds of artworks are usually nonobjective. |
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| Works of art that feature religious figures, stories, or themes. |
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| Works of art whose subject features a historical event or figure. |
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| Works of art whose subject features figures or themes mythology such as Greek gods and fairies and nymphs. |
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| Works of art that feature the daily life of the period of the artwork. |
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| Works of art whose subject is focused on a particular person. |
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| Works of art that depict a place. |
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| Works of art that feature an arrangement of inanimate objects. |
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| "Writing of images" in Greek. Refers to either the content, or subject, and to the study of the content in art. Also includes the study of the symbolic (often religious) meaning of objects, persons, and events depicted in works of art. |
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| An image that stands for another image or encapsulates and idea. |
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| The distinctive identifying aspect of a person, for example, an object held, an associated animal, or a mark on the body. |
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| An abstract idea represented in bodily form. |
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| Creator of paintings, sculptures, and other objects for specific patrons and settings and to fulfill a specific purpose. They can affect history by reinforcing or challenging ideas and practices through the objects they create. |
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| Assignment of a work to a maker or makers. |
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| A chronological and stylistic classification of works of art with a stipulation of place. |
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| The person or entity that pays an artist to produce artworks or employs an artist on a continuing basis. |
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| A kind of sculpture technique in which materials are built up or "added" to create form. |
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| A kind of sculpture technique in which materials are taken away from the original mass; carving. |
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| A sculptural technique in which the artist pours liquid metal, plaster, clay, etc into a mold. When the material dries, the sculptor removes the cast piece from the mold. |
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| A hollow form for casting. |
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| A three-dimensional sculpture. |
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| A three-dimensional sculpture featuring the head and bust. |
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| Also called freestanding figures. Carved or modeled in three dimensions. |
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| Figures projecting from a background of which they are part. The degree of relief is designated high, low (bas), or sunken. |
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| Artists cut the design into the surface so that the highest parts of the image are no higher than the surface itself. |
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| Also know as Bas-relief. Artists cut the design into the surface lower than the surface itself. |
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| The horizontal arrangement of the parts of a building or of the buildings and streets of a city or town, or a drawing showing such an arrangement. |
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| The parts of a building are organized longitudinally, or along a given axis. |
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| The parts of the structure are equal or almost equal dimensions around the center. |
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| A diagram or representation of a part of a structure or building along a imaginary plane that passes through it vertically. |
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| Drawings showing a theoretical slice across a structure's width. |
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| Drawings showing a cut through a building's length. |
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| A head-on view of an external or internal wall, showing its features and often other elements that would be visible beyond or before the wall. |
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| An architectural drawing that combines an exterior view with an interior view of part of the building. |
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| A vertical, weight-carrying architectural member, circular in cross-section and consists of a base, a shaft, and a capital. |
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| A horizontal beam used to span an opening. |
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| The uppermost member of a column, serving as a transition from the shaft to the lintel. |
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| A masonry roof or ceiling constructed on the arch principle, or a concrete roof of the same shape. |
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| The portion of a basilica flanking the nave and separated from it by a row of columns or piers. |
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| The central art of an ancient Roman basilica or church, demarcated from aisles by piers or columns. |
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| A covered walkway, outdoors or indoors; especially the passageway around the apse and the choir of a church. |
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| A recess, usually semicircular, in the wall of a building , commonly found at the east end of a church. |
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| A metal material used in sculpture. |
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| Greek for "beautiful writing." Handwriting or penmanship, especially elegant writing as a decorative art. |
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| Covered or highlighted with gold or gold-leaf. |
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| The method of tranfering a sketch onto paper or a wall by tracing. Uses transparent gazelle skin or paper placed on top of a sketch. Contours are pricked away and then black pigment is forced through the holes. |
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| A vitreous coating applied to pottery to seal and decorate the surface; it may be coloured, transparent, or opaque. Also can be glossy or matte. In oil painting a transparent or semitransparent layer applied over a colour to slightly alter it. |
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| A mixture of fine clay and water used in ceramic decoration. |
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| The way in which an artist organizes forms in an artwork, either by placing shapes on a flat surface, or arranging forms in space. |
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| In perspective, the imaginary plane corresponding to the surface of a picture, perpendicular to the viewer's line of sight. |
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| The material in which an artist works; also, in painting the liquid that carries the pigment. |
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| The processes artists employ to create form, as well as the distinctive, personal ways in which they handle their materials and tools. |
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| A continuous line defining the outer shape of an object. |
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| The range or band of visible colours in natural light. |
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| The bulk, density, and weight of matter in space. |
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| The space that mass organizes, divides, or encloses. |
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| A method of presenting an illusion of the three-dimensional world on a two-dimensional surface. |
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| A convention of representation in which part of a figure is shown in a profile view and another part of the same figure is show frontally; also called twisted perspective. |
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| The use of perspective to represent in art the apparent visual contraction of an object that extends back in space at an angle to the perpendicular plane of sight. |
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| A view or representation of an object, especially a building, in contour or outline. |
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| The relationship in size of the parts of persons, buildings, or objects, often based on a module. |
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| A basic unit of which the dimensions of the major parts of the work are multiples. The principle is used in many art forms and more often employed in architecture. |
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| An artistic convention in which greater sizes indicates greater importance. |
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