life grawing

drawing which the subject with great representational detail using a full and subtle range of values

graphically recording subject matter without interpretation or expression

extending a straight edge( penicil, ruler...) toward the model in a locked vertical or hozional position as a visual guide to determine degree of angle slants and body part alignments

using a single unit or part of the subject matter to measure other parts

depiction of organic forms in extreme perspective through size and shape distortion and careful observation of overlapping shapes

using value to describe subject matter in two dimensions

technique of representation that concentrates on the effects of blending the light and shade on objects to create the illusion of space or atmosphere

one of the properties of color: the lightness or darkness of color; the range of lights (highlights) and darks (shadows) created by light as it falls over objects and described with tints (lightening colors) and shades (darkening colors)

the area of a represented shape that receives the greatest amount of direct light; usually perpendicular to the light source; (reflected light is light bounced back from a surface to a shaded side of an object; it lies on the -surface of the object opposite the light source and is not as strong as the highlight)

mid value on a full range value scale

lowest (darkest) value on a value scale

value between mid tone and highlight, or mid tone and base tone on a value scale

• darker value cast upon the surface behind or beyond an object which is blocking the light source on the object's opposite side
• 1. cast shadows follow the form of the surface they are cast upon 2. cast shadows are darker and more acute the closer they are to the object that
• casts them;them grow lighterand-more diffuseas they move away from~the object

the darkest value on a modeled form; (this is different from the cast shadow which does not lay on the form itself but is thrown onto another surface)

an indication of form, posture and/or potential movement; gestures drawing allow the artist to a) warm up and focus; b) connect with the subject as well as disconnect from distractions; c) block out the form of the subject rapidly so that proportions and posturings can be evaluated and adjusted before much time has been invested in the drawing; d) gather information in an economic and efficient way; and e) increase sensitivity to mark making

alteration of characteristics of sUbject matter in an interpretive manner that represents a feeling, idea or attitude of the artist

representing no actual object

ctivities such as list making, word-association games and image searches that provoke new perspectives

mall, quick preliminary sketches used to work out ideas for sUbject matter, content, and composition

• creates the illusion of space by the use of the following principles:
• *close objects are more focused, show more detail and color/value contrast
• "'far objects lose focus and colorlvalue contrast, lose detail and become closer i n .value to the background as they appear to recede in space
• *objects diminish in size as they recede in space *objects overlap to imply space

• a mechanical system for creating the illusion of 3-0 space on a 2-D surface; usually applied to man-made structures containing parallel sides (roads, sidewalks etc... ) and/or right angled corners with perpendicular planes (buildings, boxes ... ); a
• false construct based on the idea of an eternal visual fiefd represented by a vanishing point where parallel lines converge

position of implied space on the picture plane: foreground (closest to viewer); mid-ground (between the foreground and background); background (farthest distance or space surrounding subject matter in shallow space)

the relationship between the positive elements and the negative areas in a composition

a hard, dense drawing stick manufactured in France; not a charcoal; creates wide range of values and allows the artist a large measure of contro

a "re-baked" charcoal stick of burnt wood and binders and extenders; softer than conte which affords the artist faster coverage but less control

unprocessed burnt wood; fugitive, light marks ideal for subtle images but difficult to control

amount of cotton fiber in a sheet of paper; the higher the rag content, the more durable and flexible in regards to media manipulation, and higher archival stability

describes the surface texture of a sheet of paper:JHGt press papers have a hard smooth finish; cold press, rough, and extra rough have increasing textures, respectively

is determined by a ream (500 sheets) of a particular sized paper; the heavier the weight the more strength, durability, and dimensional stability

number and letter system that indicates the density and hardness of drawing pencils; for example, a 68 is softer and makes a larger, darker mark thana 2H

he totality of a work of art - how it looks - the sum of the basic art elements

matter presented for study by the artist; the visual elements or objects which the artist represents in a work

the concept that the artist wishes to express;the meaning in the work of art

the organization or arrangement of the elements of art in a given work; each element used may have intrinsic characteristics that create interest, but functioning such a way that the whole is more important than the parts

the basic means of visual organization (composition, value structure etc. . .)

line, shape, value, texture, and space (which all together make up form); the "parts of speech" that a visual artists manipulates in an object or image

shape of subject matter or objects in an image

shape of the space surrounding a positive shape, sometimes referred to as background

physical relationships of elements such as balance, rhythm, domination, harmony etc. that have psychological and intrinsic effects, which when used in certain combinations have a stronger and richer impact on the viewer

emphasis; area of a work which commands the most visual attention

the difference between light and dark; higher contrast is created by extreme distances between value range, lower contrast is created by less distance

value structure in the highlight to mid tone range

value structure in the mid tone to base tone range

absence of hue or color

use of the value range of a single hue and of many hues, respectively

implies arcs and curves by means of line, as opposed to geometric

resembling or suggesting living organisms

size variations symbolic of rank of order as opposed to naturalism

representing an event or story (also, implied narrative)

an artist's misjudgment of the meaning of herlhis image or object resulting in a large audiences' misread of the artist's intended meaning

A paper with little or no sizing,like a blotter,making it very absorbent.

A sheet of paper that simulates ahandmade sheet in look,but is made by a slowly rotating machine called a cylinder-mould. No mould-made paper is made in the U.S.