| assemblage | | 3-D field with which the artist works including filled and unfilled areas |
| atmospheric perspective | | arrangement of a site often conceived as 2-D diagram seen from above |
| bas-relief | | 3-D form raised considerably off a flat background |
| chasing | | to create a larger unit by gluing together sheets of materials |
| complementary colors | | extremely accurate representation of actual 3-D objects |
| content | | those qualities of a design that can be seen and worked with |
| contrast | | 3-D works in which only 180 degrees is presented as the point of aesthetic interest |
| directional line | | visual accuracy in artistic representation of known objects |
| dominance | | 3-D form raised from a flat surface |
| dynamic form | | 3-D work that appears stationary |
| elements of design | | works designed to move and perhaps change over time |
| emphasis | | stress placed on a single area of a work or unifying visual theme |
| fabrication | | the subject matter of a work of art plus its emotional, intellectual, symbolic, and narrative implications |
| form | | negative form |
| found object | | assembling of rigid materials into units by techniques such as welding, bolting, or lamination |
| frontal | | a physically unfilled area in a 3-D work, in a subtractive sculpture a previously filled area that was cut away to reveal the form |
| full round | | referring to works expressly designed for and installed in a particular location |
| half-round | | 3-D work that conveys an illusion of movement and change |
| high-relief | | the optical illusion that areas closer to the viewer are sharper in detail, color intensity, and value contrast than areas farther away |
| highlight | | works designed to be appreciated from all sides |
| implied line | | degree of lightness/darkness |
| junk sculpture | | a work made from objects/pieces of objects originally intended for other purposes |
| kinetic art | | fool the eye |
| laminate | | artworks intended to present likenesses of known objects |
| layout | | the tactile surface characteristics of a work of art that are either felt or perceived visually |
| malleable | | juxtaposition of dissimilar areas |
| mixed media | | an object not originally created as art but used in or appreciated as a work of art |
| narrative art | | the appearance that parts of a work offset each other in such a way that it will not fall over |
| negative form | | a line in a work that is subtly perceived by the viewer but that has no physical form |
| negative space | | use of similar design features again and again |
| nonobjective art | | 3-D works of art created from castoff products |
| point of view | | capable of being shaped |
| realism | | combinations of different materials to create a visually and physically coherent whole |
| relief | | low-relief, 3-D form that is barely raised from a flat background |
| repetition | | the size of an object in relationship to other objects and to its surroundings |
| representational art | | pieces that tell a visual story |
| scale | | engraving of the surface of a piece often to help define contours |
| site-specific | | a shaped space that has no physical existence but is enclosed or defined by positive forms |
| space | | seen/made to be seen only from the front |
| static form | | works that have no apparent relationship to objects from our 3-D world, nonrepresentational |
| subtraction | | creation of a work of art by carving away the excess from a larger piece of material |
| superrealism | | emphasis placed on a particular area/characteristic of a work |
| texture | | a brightly lit area that appears as a luminous spot on a work |
| trompe l'oeil | | the volume and shape of a 3-D work, perhaps including unfilled areas that are integral to the work as a whole |
| value | | a line that seems to guide the viewer's eye along a particular visual path |
| visual balance | | the distance and angle from which something is seen |
| void | | hues that are opposite each other on the color wheel |
