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| Preliminary sketch |
A drawing or other composition not intended to be a finished work, but an exploration into formal and conceptualized ideas for a final image. |
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| Thumbnail sketch |
Rough sketch of very small proportions; used to map out a larger scale and more complex composition. |
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| Gesture drawing |
Non-committal stage of drawing that explores movement and shape of an object and its location in a space. It can be reworked numerous times. |
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| Studio Practice |
Process, tools, materials and methods used by an individual in creating a design. |
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| Gestalt |
From the German vocabulary, meaning "the consideration of the whole." Looking at a composition and seeing how all of its parts work together. |
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| Psychological closure/Gestalt/Unity |
We look for relationships among compositions and sometimes find patterns that may or may not exist. Based on elements of psychology, including Gestalt (the whole is more important than the parts) and psychological closure. Ways to achieve this include proximity, similarity and continuity. |
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| Theory of Contrasts (Bauhaus) |
Differences within a composition gives it a dynamic quality; something, like shape, placement or value changes, and in doing so, it creates simultaneous contrast and can affect how a viewer sees specific parts of a design. |
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| Power of Limits |
Within seemingly confining limitations, there are infinite numbers of solutions. Formal constraints can make one more creative. |
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| Subjective |
Particular to a specific individual. Influenced by personal thoughts or feelings held by the artist. |
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| Objective |
Having real, tangible existence outside an artist's mind. Not influenced by personal thoughts or feelings. |
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| Conceptualism |
To conceive or form an idea. Encompasses all aspects of an image that are indirectly perceived by a viewer. |
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| Formalism |
Observance of established rules, methods and traditions in art. They become tools for depicting thoughts, ideas and emotions. |
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| Logotype |
A symbol that represents a product or corporation. Often includes lettering. A logo. |
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| Pictograms |
Highly stylized pictures represent a person or object (ex. Egyptian hieroglyphs). |
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| Symbolic |
Shapes communicate ideas or concepts beyond their literal form that are agreed upon by a community. |
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| Naturalistic |
Representation of something just as it looks in nature. Includes volume and three-dimensional space. |
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| Idealism |
A depiction of the world as the artist believes it should be. |
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| Non-objective images/Non-representational |
Entirely imaginary shapes and objects within a picture that aren't based on reality or nature. Reinforces the picture plane, which becomes the reality. |
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| Abstraction |
Real objects depicted unrealistically; aesthetic content can be pattern or shape and emphasizes the picture plane. Often simplistic and reveals the structure of objects. |
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| Realism |
Depicting real objects in a natural scene without distortion or stylization; realistic. |
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| Graphic Art |
Two-dimensional artwork based on line and value rather than color. |
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| Drawing |
Delineation of line, shape and form on a surface using dry or wet media. It can include color, and can either be the finished product or the starting point for another project. |
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| Design |
Intentional arrangement of visual elements upon which artists base their work. |
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