BGCSE Art & Design (0596) key terms

The actual object, person, place or scene observed directly by the artist rather than copied from a photograph or another artwork. Drawing from primary sources builds close looking and honest recording of form.

Drawing made while looking carefully at a subject, recording its shape, proportion, tone and texture as seen. It usually involves checking angles, negative spaces and relative sizes rather than drawing from memory.

Material used as reference that is one step removed from the real subject, such as a photograph, print, book illustration or another artist's work. Useful for research but it can flatten form and distort colour.

A line that describes the outer edge or a change of surface direction of a form. Contour drawings emphasise the boundary of shapes and can be drawn slowly and continuously to sharpen observation.

A quick, loose drawing that captures the movement, pose or overall energy of a subject in a few seconds or minutes. It records action and weight rather than fine detail.

The relationship of size between parts of a form and between those parts and the whole. Accurate proportion depends on comparing widths, heights and distances rather than drawing what the mind assumes.

The visual shortening of a form that points towards or away from the viewer, so that nearer parts appear larger. It is used to create convincing depth in figures and objects seen at an angle.

A system for showing three-dimensional space on a flat surface using horizon lines and vanishing points. Parallel lines appear to converge, and objects shrink with distance, giving an illusion of depth.

A simple frame, often card with a rectangular opening, held up to isolate and study a section of a scene. It helps the artist judge shapes, edges and composition before drawing.

The lightness or darkness of a colour or area, ranging from white through greys to black. Tone describes form, light direction and mood, and is separate from hue.

Another word for the lightness or darkness of a colour, often used when mixing paint or judging contrast. A value scale from light to dark helps check whether a work has enough range.

Shading made with sets of parallel lines. Closer lines produce darker areas, and crossing sets of lines, called cross-hatching, builds denser tone and texture.

Shading built from two or more sets of lines crossing at angles. Layering the sets darkens the area and can suggest curved surfaces and volume in pen, pencil or etching.

Strong, deliberate contrast between light and dark areas to model form and create drama. The term comes from Italian and is associated with painting that emphasises volume through lighting.

A thin, transparent layer of diluted ink, watercolour or gouache spread over an area. Washes build tone gradually and can be layered, though each layer affects the ones beneath it.

A thin, transparent layer of paint applied over a dry underlayer so the colour beneath still shows. Glazing modifies colour and tone without hiding the surface below.

Paint applied thickly so that brush or knife marks stand up from the surface. The raised texture catches light and adds expressive, physical quality to the work.

The material or substance an artist uses, such as pencil, charcoal, watercolour, acrylic, clay or plaster. The word can also mean the liquid that carries pigment in paint.

An artwork made with more than one material or technique, for example combining drawing, collage and paint. Each material brings different qualities and the artist must make them work together.

An image built by cutting and gluing papers, photographs, fabric or found materials onto a surface. It allows quick layering of shapes and textures and can be combined with drawing or paint.

A rigid internal frame, often wire or wood, that supports a soft modelling material such as clay. It keeps the sculpture upright and helps hold the pose while the artist works.

Building up or shaping a soft material such as clay or plasticine by adding, pressing and smoothing. It is an additive process, in contrast to carving away from a solid block.

A subtractive process in which material such as wood, stone or plaster is cut away to reveal a form. Mistakes cannot easily be added back, so planning and grain direction matter.

Producing a form by pouring a liquid material such as plaster or resin into a mould and letting it set. The mould may be made from a clay original, allowing repeated copies.

A hollow shape used to reproduce a form, made from plaster, silicone or other material. A release agent is often needed so the cast object can be removed without damage.

Sculpture in which forms project from a flat background, as on a carved panel. Low relief projects slightly; high relief projects strongly and may be undercut.

A small-scale model made to test the shape, structure or appearance of a larger work. It helps the artist and client judge proportions before full-size construction begins.

A written statement of the problem to be solved, naming the client, target audience, purpose and any limits such as size, cost or materials. It guides and checks the design work.

The staged approach to solving a design problem: research, analysis, idea generation, development, realisation and evaluation. Each stage is recorded so decisions can be justified.

The particular group of people a design is intended for, defined by age, interests, needs or context. Knowing them shapes choices of colour, type, imagery and format.

The selection and arrangement of letterforms, including typeface, size, spacing and alignment. Good typography makes information readable and supports the mood of a design.

The arrangement of text and images on a page or screen, including margins, columns, hierarchy and balance. A clear layout guides the viewer's eye to the most important information first.

A working or full-size trial version of a design made to test function, materials and finish before production. Testing may lead to revisions in the design.

The name of a colour family, such as red, blue or yellow-green, regardless of how light or dark it is. Hue is one of the main properties of colour.

The strength or purity of a colour, from vivid and intense to dull and greyish. Mixing a colour with its complement or with grey reduces its saturation.

Pairs of colours opposite each other on the colour wheel, such as red and green or blue and orange. Placed together they create strong contrast; mixed they dull each other.

The arrangement of visual elements within a frame, including their position, size and balance. A considered composition directs attention and creates unity or deliberate tension.

The area of a composition that first attracts the viewer's attention, created through contrast, placement, scale or detail. Supporting elements should lead towards it.

A guide that divides the picture area into a grid of three by three and places key elements near the intersections. It often gives a more dynamic balance than centring the subject.

Noticeable difference between elements such as light and dark, rough and smooth, or large and small. Contrast creates emphasis, depth and visual interest within a work.

Short written notes placed beside sketches and studies to explain thinking, choices, sources and next steps. Annotation turns a sketchbook into evidence of an ongoing design or art process.

Collecting and studying images, objects and observations to inform your own work. It includes recording sources, comparing examples and explaining what you have learned from them.

The circumstances around an artwork, such as its time, place, culture, patron or purpose. Understanding context helps explain why a work looks as it does.

A structured examination of a work describing what is seen, analysing how formal elements are used, interpreting meaning and judging success. It should be supported by evidence from the work.

The basic visual components of art: line, shape, form, tone, colour, texture, pattern and space. Discussing how they are used is central to analysing any artwork or design.

Your own considered reaction to a theme, source or artwork, expressed through chosen imagery, materials and ideas. It should be individual, justified and connected to research.

The process of exploring, testing and refining initial ideas through sketches, trials and variations. Evidence of change and decision-making shows that thinking has progressed.

A working book of drawings, notes, trials and collected references that records the development of a project over time. It is usually assessed as evidence of investigation and reflection.

Purposeful enquiry into a theme, material or artist to deepen understanding and inform making. It involves selecting relevant sources, testing techniques and recording findings.