:ABSTRACT Portraying essentials or fundamentals without imitating appearances. An abstract painting of a tree depicts the fundamental forces and organization in a tree but does not look like an actual tree. :ACADEMIC Art based on a more or less completely worked-out theory andphilosophy and characterized by a crystallized approach; opposite of experimental. :ACTION PAINTING Related to Abstract Expressionism with immediacy, impulse, chance, and lucky accidents taking precedence over premediation and deliberate planning. An action painter regards his canvas as “an arena in which to act,” and his painting is a visual record of on—the—spot creativity. :ADDITION METHOD Charcoal added to a plain surface and the drawing built up through the addition of value and details. :ANALOGOUS Related, or similar, in some way. Usually refers to color schemes; for example: ‘yellow, yellow—green, and green are analogous colors because all have yellow in common. :ANALOGOUS COLOR SCHEME Using the shades, tints or tones of any three colors that are next to each other on the color wheel. :ANGLES METHOD A sketching strategy in which angles are sighted and used to reference general drawing proportions as well as finding specific points in the drawing. :ARCH An arch in the strict sense is a construction (usually curved) built up from wedge—shaped pieces of material with the joints between them all converging to the center (or centers) of the arch. But any curved structure is apt to be referred to as an arch even though not constructed on the true arch principle. :ARCHAIC Referring to objects belonging to an early, conventionalized style; more advanced than primitive. :ARMATURE Framework or skeleton used to support clay or wax in modeling; usually made of wood or metal. :ART NOUVEAU A style of art popular during the 1890’s and extending into the 20th century, characterized by flowing lines and free, loose ornament. :ASSEMBLAGE A work of art made up of one or several kinds of materials such as photographs, pieces of paper, cloth, wood, glass or metal and/or objects such as knives, nails, shells, chairs, and tables. Assemblages may be two— or three—dimensional. A collage is a one kind of assemblage. :ASYMMETRIC A term for that type of balance in which one side is NOT the mirror image of the other. Also referred to as active, informal, or occult. :AXIS An imaginary line passing through a design, building, etc., around which different parts are disposed. In drawing or painting, an imaginary line expressing the dominant direction of any object or arrangement of objects in the composition. :BACKGROUND The part of the composition that appears to be the farthest from the viewer. :BAROQUE A 17th—century art movement that was a reaction from the academic classic tradition in the direction of greater freedom. Baroque art is often characterized by strong contrasts and elaborately twisted and curved forms. :BATIK An ancient technique of dying natural fibre material using a resist technique such as wax. :BAUHAUS A school in Germany (1919—1933) for the integrated training of artists in many fields. :BEAM Horizontal unit, usually weight—supporting, of a structural :BEAUTY Those qualities that give sensual and spiritual pleasure and exaltation. :BIOMORPHIC Forms related to living organisms. :BISCUIT OR BISQUE The first firing of clay objects which leaves them hard but porous. :BRAYER Roller made of rubber or gelatin for rolling out and applying ink to plates or blocks for printing. :BRISTOL BOARD A stiff, durable cardboard made in plate and vellum finishes. The thickness varies from one to four plies. :BRONZE An alloy, usually of copper and tin, but other metals are sometimes used instead of tin. :BURIN A pointed cutting tool of metal used by engravers. :BURNISH A technique of smoothing and blending layers of pigment that obliterates the paper’s surface and leaves a glossy finish. May be done with a tortillon, burnishing tool, or a light-hued colored pencil. :BURR The rough ridge of metal thrown up beside lines on a drypoint plate. :BUTTRESS A projection of masonry or wood to support or give stability to a wall or structure. :BYZANTINE The style of art established about A.D. 500 and developed in the eastern division of the Roman Empire. Byzantine architecture is distinguished by the use of the round arch, dome on pendentives, cruciform plan, and rich mosaic ornamentation. :CALLIGRAPHIC Literally “handwriting’ this term is applied to drawings and paintings with free and sketchy linear forms. :CANTILEVER A construction device in which a nonvertical projecting member carries weight. :CAPITAL The uppermost or top member of a column, distinguished from the shaft by some distinct architectural treatment. The orders of architecture can be distinguished by the treatment of the capital. :CARTOON An artist’s drawing or study drawn on stout paper at full size to serve as a model or to be transferred and carried out in paint, tapestry, mosaic stained glass, etc. Also a comic or satirical drawing. :CAST STONE Stone dust mixed with a binder to form a concrete—like material. Cast stone is used in sculpture and architecture. :CENTER OF INTEREST The part of a work of art that has received special emphasis and around which the rest of the work is organized, also called focal point. :CERAMICS Any objects made from clay products and fired at more or less—high temperatures. :CHARCOAL Carbon obtained by roasting wood in a closed vessel. :CHIAROSCURO An Italian term meaning ‘clear—dark’ used in reference to the organization of lights and darks in drawings, paintings, and prints to suggest form and space. :CLASSIC Belonging to the culture and art of the ancient Greeks and Romans. Also refers to any system based on authoritative principles and methods used according to a coherent plan. :CLOISONNE Is the only technique in enamelling that permits precise separation of enamel colors. Wire barries fused to the metal and enamel surface prevent colors from flowing together during the firing process. :CLOSE KEYED Limiting the tonal values to a very small range. :COLD PRESS PAPER This refers to the medium-rough texture of the paper as a result of being pressed with cold weights during processing. :COLLAGE The process of constructing flat (Or low-relief) two-dimensional art by gluing various materials (i.e.. newspaper, photographs, etc.( onto the painting surface :COLORLESS BLENDER An alcohol-based, felt-tipped marker containing no color pigment. The clear solvent is used over one or more layers of dry pigment to produce a smooth, painted finish. :CONSTRUCTION LINES LINES USUALLY DRAWN LIGHTLY WHICH ASSIST, OR ARE PART OF THE DRAWING PROCESS, THAT HELP TO FACILITATE THE DRAWING OF A SUBJECT. :CONTRAST The juxtaposition of extremes—as in colors (purple with orange), values (white with black), textures (coarse with smooth), etc.— within the composition. :CONVERGE LINES, SHAPES, FORCES WHICH APPEAR TO BE GETTING CLOSER TOGETHER AS THEY RECEED TOWARDS A CENTRAL POINT :COTTAGE ROOF A design of roof in which the highest point is in the centre of the roof and the roof slopes down in four triangles from the centre to the eaves :CUL-DE-SAC A passage or Street with only one outlet. Cul—de-sacs, or dead— end streets, are used in many modern urban developments because they insure relative privacy and greatly reduce traffic in front of buildings. :DAMP CABINET a lined cabinet in which unfinished clay objects are stored to prevent them from drying out too fast. :DECORATIVE Intended to decorate a surface and to please by a harmonious organization of the plastic elements, rather than represent actual objects or express profound ideas. :DECOUPAGE Is the art of decorating with paper cut--outs. It originated in Venice during the 17th century, and rapidly spread to France, England, and Germany. I was revived in the 20th century. :DELINEATION Representation of an object or design, generally by means of lines rather than masses. :DESIGN The arrangement of interdependent parts to form a coordinated whole. :DIVERGE LINES, WHICH ORIGINATE TOGETHER AND APPEAR TO COME APART AS THEY GET CLOSER TO THE VIEWER :DOME A type of roof developed as a form of arch construction, shaped generally like a half a sphere, although there are many variations, such as stilted, squat, bulbous. :DOMINANCE emphasis through position, size, character, etc. :DORIC An order of architecture developed by the Greeks and used by them in the Parthenon and later adopted and altered by the Romans. The simple capital is composed of a square block and a circular element which acts as a transition to the shaft. :DORMER A small gable that projects through a pitched roof and usually has one or more windows. :DOUBLE CONTRAST FORCE When an edge next to a darker tone appears lighter. :DRAWING A term applied to the dominance of lines as a means of defining shapes and forms. :DRYPOINT A hand-print, intaglio process in which lines are scratched into the surface of a metal plate with a needle. The depressions are filled with ink, which is then transferred to paper in printing. :DYNAMIC Giving an effect of movement, progression, energy. :EARTHENWARE Ceramics made from comparatively fine clays and fired at moderately high temperatures. Stoneware is more refined than earthenware, but less refined than porcelain. :EAVES The lower part of a roof which projects beyond the exterior wall of a building. :ECLECTIC Selecting and combining from various doctrines, systems or stiles. Colonial, French provincal, or Tudor houses built during the 20th century are examples of ecleticism, as are ‘Gothic’ skyscrapers. Often, elements used in a design are derived from two or more styles. :ELLIPSE AN OVAL OR CIRCLE, SEEN FROM THE SIDE APPEARING AS AN OVAL :EMPHISIS Dominance, accent, or principality of any portion of a design. Emphasis implies both dominance and subordination. :ENCAUSTIC Painting with colored wax, which is afterwards fused with hot irons, thus fixing the colors. :ENGAGED COLUMN A column that projects in part from a wall. An engaged column is round, whereas a pilaster is flat. :ENGRAVING This term has several meanings, but basically it refers to the incising of letters, figures, or designs into wood, metal, or stone. In printing, it may cover all processes except planographic and stencil; be limited to the intaglio process; or apply specifically to line engravings. :ESTHETICS Philosophy, theory, or science of beauty. :ETCHING A hand—print, intaglio process in ;which the design is bitten (etched) into a metal plate with acid. These bitten lines are then filled with ink, which is transferred to the paper in printing. :EXPRESSIONISM Art in which the emphasis is on inner emotions, sensations, or ideas rather than on actual appearances or highly ordered compositions. :EXTERNAL METHODS OF DRAWING Strategies used in sketching that rely on some external drawing aid or reference to help with information organization or the drawing process. Examples of external aids in drawing is the use of a grid system as a drawing tool or the drawing instrument used to sight proportions etc. :EYE LEVEL AN IMAGINARY LINE AT THE LEVEL OF THE VIEWERS OR ARTISTS EYE. AN IMAGINARY LINE LOCATED DIRECTLY AHEAD OF THE VIEWERS EYE WHEN THEY ARE LOOKING STRAIGHT AHEAD, PARALLEL TO LEVEL GROUND. :FENESTRATION The arrangement of windows in a building. :FIGURATIVE Any image that represents the human form as a figure. symbol, or likeness. :FINISHED LINE STUDY A finishing strategy in which all of the significant information about a subject is translated into the high contrast language of line. Lines vary in thickness, contrast, texture and variety. :FIXATIVE Any thin liquid of resinous solvent or clear acrylic polymer, sprayed or painted over artwork to protect it from smudging. It is available in workable, matte. and glossy finishes. :FOREGROUND The area of a painting that is nearest to the spectator. :FORESHORTEN EXTREME VISUAL DISTORTION IN WHICH PART OF AN OBJECT APPEARS TO BE MUCH LARGER OR SMALLER BECAUSE OF THE OBJECT RECEEDING OR COMING FORWARD. :FORESHORTENING A method of drawing or painting in which objects which are closer to the viewer are made larger. :FORM Refers to (1) the total organization of all the parts, or (2) mass or shape. :FORMAL Showing special attention to arrangement: also referring to work done according to definite rules or showing pronounced symmetry. :FOUND EDGE A clearly defined edge of an object. :FREE FORM Shapes that do not follow any set rules; usually biomorphic. :FRESCO Painting, executed with a medium similar to watercolor, on plaster, which is usually bonded to a masonry wall. True, or BUONO, fresco is done on fresh, wet plaster into which the pigment sinks. FRESCO SECCO, done on dry plaster, is much less permanent. :FRIEZE The middle portion of the classical entablature~ also a band or strip of painted or sculptured decoration. :FRISK-IT FILM A brand of clear film backed with a low-tack, removable adhesive. It is commonly used to protect unfinished areas of a painting, but it is also used to remove, or lift, pigment from the surface. :FUNCTION Purpose; natural, appropriate, characteristic action. :FUTURISM An art movement originating in Italy in the early 20th century that aimed to portray the movement and change in objects rather than their appearance at any specific time. :GABLE An end of a ridged roof, generally triangular in shape. :GARGOYLE A projecting stone spout, usually grotesquely carved, used on medieval buildings to carry off rain water. Gargoyles are frequently carved with the heads of fantastic animals. :GENRE A style, especially of painting, illustrative of the common life of a people. :GLAZE A liquid suspension of finely ground minerals which is applied by brushing, pouring, or spraying on the surface of bisque—fired ceramic ware. After drying the ware is fired to the temperature at which the glaze ingredients will melt together to form a glassy surface coating. :GLAZE FIRE A firing cycle to the temperature at which the glaze materials will melt to form a glasslike surface coating. This is usually at a temperature considerably higher than the first bisque fire. :GOLDEN MEAN OR SECTION : A system arrived at by geometrical means that has an aesthetic appeal, a stable yet never static effect, which has led artists of varying periods and cultures to employ it in determining basic measurements. :GOTHIC A style of art prevalent in Western Europe from the 13th through the 15th centuries. Gothic architecture has a highly dynamic system of construction developed from such elements as pointed arches, vaults, and buttresses. :GRADATION A fine progression of values. Also, the imperceptible blending of adjacent colors. :GRAPHIC Originally referring only to writing, the term graphic has been extended to drawing, and, sometimes, to painting. It is also used specifically in reference to hand and mechanical printing. :GRAPHITE PAPER A thin paper coated with graphite used for transfer-ring drawings done on tracing paper onto the art paper. :GREENWARE “New Ware” or UNFIRED CLAY OBJECTS: :GRIDIRON : Rectangular network, as in city plans. :GRISALLE A monochrome painting modeled in shades of gray. Commonly used as a base coat before applying colored pigments. :GROG Hard fired clay which has been crushed or ground to various particle sizes. It is used to reduce shrinkage in such ceramic products as sculpture and architectural terra—cotta tiles, which because of their thickness ,have drying and shrinkage problems :GROTESQUE Specifically and correctly, a fanciful type of ornamentation that combines geometric and natural forms based on ancient art found in grottoes. Nowadays it also refers tc that which is awkward or incongruous. :GROUND In painting, a usually white coating of prepared gypsum, chalk, or oil pigment applied to the painting surface before the painting is begun. In printing, a waxy coating applied to the printing plate to protect parts of it from the action of the mordant (or acid). :GROUND LINE AN IMAGINARY LINE PARALLEL TO THE HORIZON WHICH PASSES THROUGH A POINT WHERE AN OBJECT TOUCHES THE GROUND. :HALFTONE A photoengraving process used for the reproduction of photographs, drawings, and paintings in newspapers) magazines, and books in which different values are printed as dots of varying sizes. :HARMONY Agreement among parts of a composition tending to produce unity. :HIGH KEYED Raising the key by making the tones lighter. :HIGHLIGHTS An area of contrsting lightness or brightness. :HIGH-LIGHT A spot of bright light or high value on an object, usually produced by a reflection of the source of light. :HOT PRESS PAPER This refers to the smooth surface of the paper as a result of pressing it between calendar rollers that flatten the grain into an even finish. :HUE The actual color of anything. Also used to describe what direction a color leans toward (i.e. bluish green). :IKEBANA Japanese Flower arranging, the origins of which go back approximately 45 centuries. :ILLUSTRATION BOARD Layers of paper adhered to a cardboard backing to produce a sturdy drawing surface. It is made in various thicknesses and textures. :IMPRESSED LINE A technique of using a blunt instrument, such as a stylus, to etch lines into the surface of the paper. Color can then be added tonally while retaining the impression. :IMPRESSIONISM A movement in art, particularly painting, in which one aim is to record the effect (or impression ) that one received from the first imp-ression of a scene. Impressionism is often associated with broken color, whereby complex colors are rendered by juxtaposed strokes of their component colors that blend in the eye of the observer. — :INFORMAL Irregular; emphasis on naturalism rather than on strictly ordered forms and compositions. :INTAGLIO PRINTING Done from an engraved or incised surface; the opposite of relief printing. :INTEGRATION The formation of a complete, unified whole. :INTENSITY OF COLOR The degree of purity or saturation of a color. :INTERNATIONAL STYLE Although there have been art trends in the past that were sufficiently widespread to deserve being called INTERNATIONAL, this phrase today usually refers to a style of architecture begun in the 1920’s. Great precision and regularity, geometric forms, smooth surfaces, and lack of ornamentation are distinctive characteristics. Local materials and regional forms play little if any part in the buildings. :IONIC An order of architecture with columns more slender than the Done and capitals decorated with volutes. Developed by the Greeks and adapted and altered by the Romans. :ISOMETRIC A DRAWING IN WHICH PARALLEL LINES ARE DRAWN ACTUALLY PARALLEL WITHOUT DISTORTION :KEY Refers to the range of grey or color values in a drawing or painting. High key work is dominated by light, bright, or pale colors or values. Low key work is dark and subdued. :KEYED IN To find and place the middle tone and extreme light and dark tones. :KEYSTONE The central stone of an arch, sometimes given a highly decorative treatment. :KILN A furnace or oven for drying, baking, or firing various products. Ceramic kilns arc used in firing and glazing pottery. :LAMINATE Layers of paper, wood, etc., bonded together, usually by heat and pressure to make a tough, homologous material. Plywood is a laminated product. :LANTERN A small structure that crowns a dome, turret, or roof. It has openings for lighting, though frequently the primary purpose is decorative. :LAYOUT In printing and in commercial art, a term referring to the arrangement of pictures and words on the page. :LEATHER HARD The condition of the raw ware when most of the moisture has left the body but when it is still soft enough to be carved or burnished easily. :LINTEL Horizontal architectural member of wood, stone, etc., to span openings, supported at ends by piers or walls. :LITHOGRAPHY Method of surface printing from a plate of stone or metal and greasy ink. :LOCAL COLOR The actual color of an object. :LOST EDGE Soft, slightly out of focus or difficult of define, edge of an object. :LOW KEYED Making the tones darker. :MACRAME Using a variety of knots in cord, twin or yarn to create different articles. :MADONNA Italian word meaning 'my lady’ usually referring to the Virgin Mary. :MASONARY Construction made from such materials as stone, brick, tile, and plaster. :MEDIEVAL Referring to the Middle Ages, during which the Romanesque and Gothic styles of architecture developed. :MEDIUM The material used to produce an art object. Also the liquid with which pigments are mixed to make them suitable for painting. :MOBILE A kind of sculpture, usually of metal, in which the parts move. :MODELING The representation of solid forms in either sculpture or painting.Modeling refers either to the actual shaping of clay or other materials in sculpture, or the use of colors and values to represent forms in painting. :MODULE Standard or unit of measurement. :MOLD A form from which something takes its shape. Much commercial pottery is made in molds. :MONOCHROMATIC Using only one hue. An example of a monochromatic color scheme is one based on various tints and shades of green. :MONOPRINT A type of surface printing in which a sketch is done on glass or metal with oil paint or ink and. then transferred by contact to paper. Only one print can be made of each design. Also called monotype. :MONTAGE A composition made by fitting together parts of various photographs. :MONUMENTAL A term used to describe the effect of unpretentious grandeur in a work of art, irrespective of its size. :MORDANT In etching, any fluid, usually a strong acid, used to eat away the exposed portions of’ the plate. :MOSAIC A type if inlaid design, composed of small pieces of stone or glass, generally used for the decoration of walls and floors. :MULLION A vertical bar of stone or wood dividing window lights or panels. :MURAL Literally meaning WALL, this term is now used for painting, sculpture, mosacis, etc.that are definitely joined with a wall. :MUSEUM BOARD Available in two- and four-ply, this soft, textured sur-face absorbs wet or dry pigment readily. :NEGATIVE SHAPE The surrounding or background shape around a figure or object. :NICHE A hollow recess in a wall, generally intended for a statue or ornament. :NON-OBJECTIVE Referring to paintings or sculpture that show no resemblance to natural objects as they are ordinarily perceived. (See also ABSTRACT) :OIL PAINTING A technique of painting with pigments ground in such oils as linseed, poppy, or nut. The characteristic slowness of drying is often hastened by adding turpentine or other dryers. :OPEN PLAN A building plan in which some rooms or areas are not sharply divided from each other. :ORGANIC Having a complex structure of vitally interdependent units such as is found in living organisms and the architecture of Frank Lloyd Wright. :ORGANIZATION The purposeful relation of parts to each others and to the whole. :PALETTE A flat thin piece of metal, wood, porcelain, or glass on which a painter mixes colors; also, the assortment of colors used by a painter. :PALETTE KNIFE A thin flexible knife used by painters for mixing oil colors or applying them to a canvas. :PASTEL Crayons made of ground colors and a binder (usually gum arabic). Pastel is also used to describe colors that are light in value and somewhat neutralized. :PATINA A film or encrustation on the surface of’ copper or bronze produced naturally by oxidation or by treatment with acids. Also includes any mellowing of surfaces resulting from age and use. -. :PERSPECTIVE A mechanical system of explaining distortion in the perception of incoming visual information from the human eye. :PERSPECTIVE-AREAL Representation of space by the weakening of hues and value contrasts and the softening of edges of objects in proportion to their distance from the observer. The apparent haziness of distant objects is an example of aerial perspective. :PERSPECTIVE-LINEAR Representation of space and distance in drawing and painting through the convergence of parallel lines and the diminution of objects in relation to their distance from the foreground. Developed during the Renaissance, linear perspective quickly supplanted all other means of depicting space in Western art until the experimental work of the late 19th and 20th century. :PICTURE PLANE THE DRAWING SURFACE OR IMAGINED SURFACE UPON WHICH THE ARTISTS WORKS :PIGMENT Any coloring material that is mixed with a liquid to produce paints, dyes, etc. :PILASTER A building pier, rectangular in plan, that is a part of, but projects slightly from, the wall. Pilasters generally mark points of special support in a wall and are treated as columns with base, shaft and capital. :PLANE A FLAT SURFACE OF UNDETERMINED SIZE :PLANOGRAPHIC Printing done from a flat plate, the design being neither raised nor lowered. Lithography is a type of surface printing. :PLASTER OF PARIS A white powder (calcium sulfate) which when mixed with water forms a quick—setting paste used for molds in casting dishes, sculpture, etc. :PLASTIC Capable of being formed, molded, or modeled. :PLASTIC ELEMENTS Line, form, space, color, and texture; the elements of which all of the plastic and graphic arts are composed. :PLASTICINE A modeling clay that has been mixed with oil so that it does not harden. :PLYWOOD An odd number of sheets of thin wood glued together with the grains of adjacent sheets at right angles to each other. :POINTALLISM A method of painting in which the paint is applied in dots or ‘points’ that are more or less the seine size and shape in any one painting. A somewhat formalized, systematic development of the broken or divided— color techniques of Impressionism. :POINTING The mechanical measuring of an original piece of modeling or sculpture in order to reproduce it in some other material. Stone cutters make use of pointing to copy accurately the model supplied them by the sculpture. :PORCELAIN A ceramic product made from a fine, even-grained clay and fired to a high temperature; a tough, beautiful ware that is translucent when thin. :POSITIVE SHAPE The actual shape and proportion of an object. :POST AND LINTEL A system of architectural construction based on upright columns or posts and horizontal beams or lintels. :POST-IMPRESSIONIST A general term used to describe the progressive painters in the latter part of the 19th century who departed from the Impressionist approach to find their own ways of seeing and painting what they say and felt. :PREFABRICATED Generally used in architecture to describe those parts of a build-ing that are manufactured before delivery to the building site where they are incorporated in the building or assembled. Increasingly, entire houses are being prefabricated. :PRE-STRESSED CONCRETE Concrete in which cables, rods, wires, etc., are.so embedded that structural burdens are DEFLECTED and made to travel in PREDETERMINED directions. The reinforcement is held under tension until the concrete is hard. When the tension is released, the metal contracts and compresses and strengthens the concrete. :PROPORTION The relation among parts and of parts to the whole; ratio among parts. Sometimes used specifically for shape relationships. :PUG MILL A machine for mixing plastic clay. :RAKU A soft lead glazed, hand built groggy earthenware originating in Japan and associated with the tea ceremony. :REALISM Applied chiefly to painting and sculpture that rather closely approximates the natural appearance of objects but emphasize the most distinctive, visual characteristics of forms, colors, textures, and space. :REGULAR HAVING PARTS OF THE SAME SHAPE, SIZE, ANGLE OR SPACING. :RELIEF PRINTING Printing done from a raised surface, in contrast to INTAGLIO and PLANOGRAPHIC PRINTING. :RELIEF SCULPTURE Sculpture in which the forms project from a background to which they are attached. :RENAISSANCE The great rebirth in art and learning that began in Italy in the 15th century and quickly spread to other European countries. Sometimes called the age of Discovery, it was the period in which the achievements of the Classical Age were intensively studied and the dignity of individual man was freshly appreciated. In art, it involved the rejection of the Gothic style and the development of a new style based on Roman precedent. :REPETITION The use of the same element or motif more than once in one or more directions. :RHYTHUM Movement or continuity typically achieved by recurrence or sequential change. :ROCOCO An l8th—century art movement that was both a reaction to and an out-growth of the Baroque. Reaching its height in France, rococo art is character-ized by delicate, playful lightness. Rocks, shells, and fantastic curves are favorite motifs :ROMANTIC Emphasizing imagination, sentiment, and individual expression; opposing the restricting formality of classical standards. :ROSE WINDOW A circular window filled with a design that radiates from the center. Rose windows are often found in Gothic cathedrals. :SARCHOPHAGUS A stone coffin. :SCALE The size of the parts in relation to the whole object. Also, the size relation of the representation of an object to the object itself; for example, architects draw plans in which the scale is one inch to four feet, eight feet, etc. :SCRAFFITO Decoration produced by scratching through a surface layer of plaster, glaze, etc., to reveal a differently colored ground. :SGRAFFITO The method of creating designs by scraping the top layers of pigment to reveal the different colors of the underlying layers. :SHADING The darkening of an area on the drawing surface with charcoal or other media. :SHADOW THE ABSENCE OF LIGHT CREATED BY THE INTERVENTION OF AN OBJECT BETWEEN A LIGHT SOURCE AND THE VIEWER. OR THE SIDE OF THE OBJECT WHICH RECEIVES LESS LIGHT :SHAPES METHOD A sketching strategy in which areas of information and/or proportion in an object or still life are reduced to and initially drawn as, general shapes. :SIGHTING METHOD A sketching strategy in which the drawing instrument is used to gather information and translate information about the subject being drawn. :SIGNIFICANT FORM A phrase applied to works of art whose handling of form, space, color, and texture are markedly expressive, meaningful or vital. :SILK-SCREEN PRINTING A type of printing in which a silk fabric is used as a stencil. Used for printing fabrics and reproductions of paintings. Original prints made by this method are called serigraphs. :SKELETON CONSTRUCTION A system of building in which the weight is carried by comparatively slender, widely spaced structural members of metal, reinforced concrete, or wood. Contrasts with masonry buildings in which solid walls carry the weight. :SKETCH Presents a complete idea or total effect in abbreviated form. It might give the general impression of the thing seen, or it might be the pro-jection of an idea for a more complicated work of art. It will catch the character of the things that impress the artist. :SKYLINE THE LINE WHERE THE SKY AND EARTH APPEAR TO MEET. tHIS IS THE ACTUAL LINE AS OPPOSED TO THE HORIZON WHICH EXCLUDES HILLS. :SLIP A clay in liquid suspension. :STATIC At rest or in complete equilibrium; suggesting no movement; opposite of dynamic. :STELE A stone slab or pillar used as a gravestone, or to mark a site. :STILL LIFE Varied objects, such as fruits, flowers, and vases, used as the subject matter of a painting; also, a painting made of such objects. :STONEWARE Ceramics made from comparatively fine clays and fired at moderately high temperatures. Stoneware is more refined than earthenware, but less refined than porcelain. :STYLE The manner or mode of execution or representation in art as distinguished from the content. :STYLISE AN ARTISTIC REPRESENTATION WHERE A QUALITY HAS BEEN EMPHISISED USUALLY THROUGH SIMPLIFICATION OR THE EMPHISIS OF SHAPE. :SUBJECT MATTER The objects represented in painting or sculpture, such as persons, landscapes, or flowers. (See CONTENT) :SUBTRACTION METHOD A method in using charcoal in which a large portion of the charcoal is placed before defining the subject matter to be drawn. :SURREALISM A movement that developed after World War I in which artists derived their inspiration from the subconscious. The results usually have a dreamlike irrationality. :SYMBOLIC Representation by symbols rather than direct imitation. :SYMMETRY A balancing of parts in which those on one side of the center are the exact reverse of those on the other. Symmetry is the most obvious form of balance. :TACTILE VALUES An expression used to describe the quality of a work of art that appeals to the sense of touch. :TEMPERA A thin but opaque paint in which the pigment is carried in a milk—like emulsion of oily and watery components. Egg, milk, glue, gum arabic, the juice of the fig tree, and. dandelions are some of the materials used in preparing the emulsion. :TENSION Stretching, straining, or pulling as opposed to compression. Tensions in architecture are the actual straining forces in various members; tensions in painting are the representations of the pulling forces between forms, colors, etc. :TERRA COTTA A low—fire ceramic body used both for construction and decoration in architecture, for sculpture, and for flower pots, planters, etc. :THREE-QUARTER VIEW TO VIEW AN OBJECT OF PERSON OR ANIMAL AT AN ANGLE WHICH FROM THE BI-LATERAL SYMETRY LINE, HAS 3/4 OF THE PROFILE ON ONE SIDE OF THE LINE AND 1/4 ON THE OTHER. :THRUST An outward force produced by an arch or vault. In Gothic architecture the buttresses provide counter thrusts to the thrusts of the vaulting. :TINTING A slight addition of a small amount of tone :TONAL MASSES The shape and value of a tone :TOOTH Refers to the depth of the grain of the paper. :TORTILLON Tightly rolled gray or white paper used for blending colors, also referred to as a “stump.’ :TRADITIONAL Anything handed down from earlier periods. :TRIAD A group of three. A triad color scheme has three colors, generally forming an equilateral triangle on the color wheel, such as red, blue, and. yellow. :TRUSS An architectural form in which beams, bars, etc., are combined into a rigid framework, the shape of which cannot be altered without deformation of one or more of its members. Trusses are usually triangular or are made up of triangular forms because the triangle is the only polygonal form that cannot be altered without changing the length of one or more sides. :TYPE FACE The character, shape, or design of the type used in printing :UNITY Oneness; singleness; all means or elements adapted to a single purpose or end. :VALUE The degree of lightness or darkness. Values range from white to black, from light pink to dark maroon, etc. :VALUE DOWN The darkening of a value :VALUE SCALE The general distribution of the three tones in a subject and the light and shadow inbetween those tones :VANISHING POINT AN IMAGINARY POINT TO WHICH PARALLEL RECEEDING LINES APPEAR TO CONVERGE. :VARIETY Difference or variation. :VAULT A stone, brick, or concrete roof constructed on the arch principle. A barrel vault is semicylindrical in shape. A grain vault consists of two barrel vaults intersecting at right angles. A ribbed vault is one in which there is a framework of ribs or arches under the intersections of the vaulting sections. A dome is a hemispherical vault. :VELLUM A smooth cream-colored paper resembling calfskin. :VERTICAL PERPENDICULAR TO THE HORIZON AND USUALLY PARALLEL WITH THE SIDES OF THE PICTURE. :VIEW POINT A POINT ON THE HORIZON WHICH INDICATES THE EXACT POSITION OF THE VIEWERS, OR ARTISTS EYE. :VISUALIZE THE ARTISTS ABILITY TO SEE, UNDERSTAND, REMEMBER AND RECALL A MENTAL PICTURE OF THE OBJECT TO BE VISUALIZED. :VOUSSOIR Wedge-shaped piece of material used in an arch. :WARP The lengthwise threads in c. woven fabric. Warp threads are strung on the loom before the weaving begins. :WATER COLOR A painting material made from pigments held together with a water— soluble binder. Although usually thought of as being transparent, it can also be translucent or densely opaque. :WAX BLOOM Occurs when the concentration of wax in the layers of pigment rise to the top to create a ‘fog” that dulls and subdues colors. This usually happens when using heavy pressure on several layers, as in burnishing, and can :WEAVING The interlacing, usually at right angles, of flexible materials. :WebCT A tool for the creation of web-based learning environments. :WEFT The crosswise threads in a woven fabric; also called filling or woof. Weft and warp threads are interlaced in weaving. :WOOD ENGRAVING The process of engraving designs on the end grain of wood for printing; also, a print made from this engraved surface. Wood engraving generally show finer detail than woodcuts. :WOOF The crosswise threads in a woven fabric; also called filling or woof. Weft and warp threads are interlaced in weaving.