NSSCO Art and Design 6149 key terms

A line that follows the outer edge or a change of surface direction of a form, describing its shape without shading. Artists use it to record observation quickly and to clarify structure before adding tone.

A line drawn across a form as though wrapping around its surface, showing volume and curvature. Unlike outline, cross-contours reveal how a shape turns in space and help build convincing three-dimensional drawings.

A fast, loose drawing capturing the movement, weight and overall pose of a subject in a few seconds or minutes. It trains the eye to see the whole figure rather than isolated details.

The relative size of parts of a form or composition compared with each other and with the whole. Correct proportion depends on careful measuring and constant comparison while observing.

The visual shortening of a form when it points towards or away from the viewer, such as an arm extended forward. Drawing it correctly requires observing overlapping shapes and compressed proportions rather than assumed lengths.

A system for showing depth on a flat surface so that parallel lines appear to converge at vanishing points on a horizon line. It covers one-point, two-point and three-point construction used in observational and design drawing.

The point on the horizon line where receding parallel lines appear to meet in a perspective drawing. A composition may use one, two or three vanishing points depending on the viewpoint.

The height of the viewer's eyes relative to the subject, which fixes the horizon line in a perspective drawing. Raising or lowering it changes how much of an object's top or underside is seen.

The use of strong contrasts between light and dark to model form and create dramatic depth. It describes both observational shading of three-dimensional objects and the theatrical lighting found in some paintings.

The lightness or darkness of a colour or grey, independent of its hue. A full range from highlight through mid-tones to shadow gives drawings and paintings solidity and readable form.

The name of a colour family, such as red, blue-green or yellow, identified by its position on the colour wheel. Hue is distinct from how light, dark, bright or dull a colour is.

The intensity or purity of a colour, ranging from vivid and strong to muted and greyish. Mixing in a complementary colour or grey lowers saturation without necessarily changing the hue's lightness.

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

A circular arrangement of hues showing their relationships, usually built from primary, secondary and tertiary colours. It is a working tool for planning harmonious schemes and predicting the results of mixing pigments.

A planned set of colours that relate comfortably, for example analogous hues, a complementary pair or a limited earth palette. Harmony can be quiet and unified or deliberately tense through contrast.

Paint applied thickly so that it stands up from the surface and shows brush or knife marks. The texture catches light and becomes part of the expressive content of the work.

A thin, semi-transparent layer of opaque or semi-opaque paint dragged over a dry underlayer, letting some of it show through. It is used to soften colours, modify tone and create atmospheric distance.

A thin, fluid layer of diluted paint or ink spread over an area, often with a brush or sponge. Repeated washes build depth gradually, and washes are central to watercolour and ink techniques.

A technique of applying wet paint onto a still-damp surface so the colours bleed and blend softly. It produces diffuse edges and atmospheric effects, and demands control of water content.

The prepared surface that receives paint, such as primed canvas, board, paper or gessoed panel. The ground's colour, absorbency and texture strongly influence how the paint behaves.

An internal framework of wire, wood or metal that supports a three-dimensional work while it is modelled. A sound armature carries the weight of clay or plaster and holds the intended pose or structure.

A small-scale model or rough version of a proposed three-dimensional work, made to test form, structure and proportions. It allows the designer to solve problems cheaply before committing to full size.

Building up and shaping a pliable material such as clay, wax or plaster by adding and pressing it. It is an additive process, in contrast to carving, which removes material.

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 respect for the material's grain are essential.

The three-dimensional quality of an object, its volume, mass and structure, as distinct from flat shape. In design, form also means the overall visual configuration of a work.

A creamy mixture of clay and water used to join clay pieces and to decorate surfaces. Scoring the edges before applying slip creates a strong bond in hand-built pottery.

Making pottery without a wheel, using techniques such as pinching, coiling and slab construction. It suits sculptural and irregular forms and lets the maker control thickness and texture directly.

A glassy coating fired onto ceramic work to make it waterproof and decorative. Glaze colour and surface change dramatically during firing, so test pieces are essential.

The arrangement of text so that headings, subheadings and body copy are clearly ranked by size, weight, spacing and position. It guides the reader's eye and makes information easy to navigate.

A network of horizontal and vertical guides that organises elements on a page or poster into consistent columns and margins. It creates order and alignment while allowing controlled variation.

The empty area left between and around design elements, which is an active part of composition rather than wasted room. It gives elements breathing space, improves legibility and directs attention.

A distinctive mark, symbol or stylised wordmark that identifies a product, service or organisation. A good logo stays recognisable at small sizes and in one colour, and works across different media.

The consistent set of visual elements, such as logo, colours, typefaces and imagery, that make an organisation recognisable. It is applied across packaging, signage, print and screen media.

The arrangement of elements such as line, shape, colour and space within a frame. Decisions about balance, focal point and rhythm determine how the viewer's eye travels through the work.

The area of a composition that first attracts and holds attention, achieved through contrast, size, position or detail. A clear focal point gives a work structure and a place for the eye to rest.

A compositional guide that divides the frame into a three-by-three grid and places key elements near the intersecting lines. It produces a more dynamic balance than simply centring the subject.

A category of subject matter in art, such as portrait, landscape, still life, history painting or everyday life scenes. Genres carry different conventions and status in different periods and cultures.

The use of objects, colours or figures to stand for ideas beyond their literal appearance, such as a skull for mortality. Understanding context and conventions is needed to read symbolic meaning in a work.

The study and interpretation of the subject matter and conventional signs within an artwork. It helps viewers identify figures, attributes and narratives, and how meaning changes across cultures and periods.

A working book of drawings, notes, experiments and collected images kept throughout a project. It records observation and thinking, and provides evidence of development for assessment.

Written notes beside drawings and studies that explain decisions, record observations and evaluate progress. Effective annotation links visual experiments to intentions and to the work of other artists.

First-hand material observed or recorded directly, such as a still-life set-up, a live model, a site visit or the candidate's own photographs. It provides authentic detail that secondary sources cannot.

Information gathered at second hand, such as reproductions in books, museum websites or other artists' works. It supports research and comparison but should be tested against direct observation.

A judgement about the strengths and weaknesses of a piece or a stage of work, supported by specific reasons. Regular evaluation guides improvement and is expected in the final portfolio presentation.