Pancyprian Visual Arts key terms

A line that traces the outer edge or a change of surface direction of a form. It describes shape and volume without shading, and can be drawn slowly to record what the eye actually sees.

A fast, loose drawing that captures the movement, weight and overall thrust of a pose rather than its outline. Lines are typically long and few, made in under a minute, to train the eye before detailed work.

The relative size of parts to one another and to the whole. In figure work it is checked by comparing head units, shoulder width and limb lengths, often by sighting along a pencil held at arm's length.

A measuring technique in which the artist holds a pencil or stick at arm's length, closes one eye and marks a length on it with the thumb. That unit is then compared against other parts of the subject.

A true vertical reference, either a weighted string or an imagined line through the subject, used to check alignment. It reveals whether a chin, shoulder or knee sits directly above or below another point.

The area around and between objects, treated as a shape in its own right. Drawing it helps correct errors in the positive form, because empty gaps are easier to judge accurately than complex objects.

The apparent shortening of a form that points towards or away from the viewer. Limbs and bodies are drawn compressed along the line of sight, with overlapping shapes signalling depth.

The use of strong contrasts of light and dark to model three-dimensional form. Values are built from highlight through mid-tone to core shadow, giving the illusion of volume and a single light source.

The darkest band on a form where the surface turns away from the light, before reflected light begins. Placing it correctly is what makes a sphere or limb read as rounded rather than flat.

Light bounced from nearby surfaces back onto the shadowed side of a form. It keeps shadows from going flat and black, and is always slightly lighter than the core shadow next to it.

The name of a colour family, such as red, blue-green or yellow. Hue is one of the three dimensions of colour, alongside value and saturation, and is independent of how light or dark it is.

How light or dark a colour is, judged independently of its hue. A value scale of nine or ten steps is used to plan tonal structure and to check whether a painting holds together when squinted at.

The purity or intensity of a colour, from vivid to muted grey. Mixing a complementary colour or adding grey lowers saturation without necessarily changing the value much.

Pairs sitting opposite each other on the colour wheel, such as red and green. Placed side by side they intensify each other; mixed together they neutralise towards grey or brown.

The way a colour appears to change according to its surroundings. A grey looks warmer on blue and cooler on orange, so neighbouring colours must be judged together rather than in isolation.

The warm or cool quality of a colour, with reds and yellows reading warm and blues and greens cool. Warm colours tend to advance and cool colours recede, which artists use to create depth.

The colour an object appears to have under neutral white light, before effects of atmosphere, strong lighting or reflected colour are considered. It is the starting point from which observed colour is adjusted.

Applying a thin, transparent layer of paint over a dry underlayer so light passes through it. Glazes deepen colour and build richness, and are commonly used in oil and acrylic work.

Brushing a thin, semi-opaque layer of light paint over a darker dry layer so the underneath shows through in patches. It creates broken colour, haze and soft atmospheric effects.

Paint applied thickly enough to stand up from the surface and hold brush or knife marks. It catches light physically and adds texture, and is a hallmark of expressive oil painting.

A Japanese-derived design principle describing the arrangement of light and dark masses in a composition. A notan study reduces an image to two or three values to test whether the structure is strong.

A framing guide that divides the picture into nine equal parts with two vertical and two horizontal lines. Placing key elements near the intersections often produces a more dynamic balance than centring them.

The area the viewer's eye is drawn to first, established through contrast, isolation, detail or converging lines. A strong composition usually has one dominant focal point and quieter supporting areas.

A path, edge or implied line in an image that guides the eye towards the focal point. Roads, rivers, shadows and gestures all serve this role, and should not lead the eye out of the frame.

A proportional ratio of roughly 1 to 1.618, used to divide a format or place elements in a way many find harmonious. It appears in classical architecture and in compositional grids.

Placing one shape in front of another so the rear shape is partly hidden, which signals depth. It is the simplest and most reliable depth cue, stronger than size difference alone.

Creating depth by making distant forms paler, cooler, less detailed and lower in contrast. It mimics how atmosphere scatters light over distance and is used in landscape painting.

A small, quick drawing used to test several compositional arrangements before committing to a larger work. Values and major shapes are blocked in simply, so options can be compared cheaply.

The internal supporting framework of a sculpture, usually wire, wood or metal, that carries the weight of soft material. It must be strong enough to hold the pose and is often removed for casting.

A small-scale model made to test the form, balance and proportions of a larger sculpture or design. It allows structural and spatial problems to be solved cheaply before full-size work begins.

A carving in which figures project only slightly from a flat background, as on a coin or frieze. Depth is suggested by compressed modelling and undercutting rather than by full three-dimensional form.

Clay mixed with water to a creamy liquid, used to join leather-hard clay pieces or to decorate surfaces. Scoring both edges before applying slip creates a reliable join in hand-built ceramics.

Producing a form by pouring a liquid material such as plaster, resin or molten metal into a mould and letting it set. A mould may be made from clay, silicone or waste material around an original.

Two opposite ways of making form: building up material, as in modelling clay, or removing it, as in carving stone or wood. Each imposes different limits on detail, undercuts and the risk of failure.

The ordering of artworks and movements in time. Placing a work within its period helps explain its materials, subject matter and the conventions it either follows or deliberately breaks.

Describing and interpreting a work through its visual elements, such as line, colour, shape, space and composition, before considering meaning. It grounds judgement in what can actually be seen.

The study of the subjects, symbols and motifs in an artwork and their conventional meanings. Recognising attributes such as a saint's emblem allows a narrative scene to be identified.

The documented history of ownership of an artwork. It supports authentication, helps establish date and origin, and is central to questions about looted or disputed cultural property.

An argued assessment of how well a work achieves its aims, supported by evidence from the work itself. It differs from personal taste because reasons and criteria are stated and can be challenged.

A short first-person text explaining the ideas, processes and intentions behind a body of work. It should be specific to the pieces shown and help a viewer read the portfolio without over-explaining them.

A curated selection of work presented for assessment or application. It should show range, sustained investigation and evidence of process, usually ordered so the strongest and most relevant pieces lead.

A working notebook of drawings, notes, experiments and source references. In assessment it evidences research, risk-taking and reflection, and is often judged alongside finished pieces.