refers to the idea itself, including the subject matter plus its emotional,

intellectual, spiritual, and symbolic implications

(a)  

outer edges

(a)  

internal edges

(a)  

visually suggest nature or natural forces

(a)  

based on cubes, spheres, and other simple volumes

(a)  

stable and unmoving

(a)  

imply movement

(a)  

involves actual movement

(a)  

the combination of multiple parts into a unified whole

(a)  

refers to the horizontal, vertical, or diagonal position of the line

(a)  

refers to the implied\actual movement of a line

(a)  

can increase movement and accentuate form.

(a)  

through its physical presence, actual line can connect, define, or divide a design

(a)  

created through mental rather than physical connections

(a)  

refers to an enclosed area of three-dimensional space

(a)  

a solid three-dimensional form

(a)  

outer edge

(a)  

internal edge

(a)  

the area within or around an area of substance. A dialogue between a form and its surroundings is created as soon as an artist positions an object in space.

(a)  

refers to the visual or tactile quality of a form

(a)  

variations in lights and darks

(a)  

surface that permits the passage of light, such as glass or clear plastic

(a)  

neither fully opaque or transparent, allows some passage of light

(a)  

light that has been bent as it passes through a prism

(a)  

light that is bounced off a reflective surface back into space

(a)  

encompasses an entire space or setting

(a)  

localized and focuses

(a)  

each color has a specific hue that is determined by its wavelength

(a)  

lightness or darkness of a color

(a)  

refers to the purity of a color

(a)  

refers to the psychological characteristics attributed to a color

(a)  

next to each other on the color wheel

(a)  

refers to the location and duration of an actual time related event

(a)  

suggested location or duration of an event

(a)  

similarity, oneness, togetherness, or cohesion

(a)  

the combination of multiple parts into a unified whole

(a)  

This can be achieved by using the following sub-categories: Grouping,
Containment, Proximity, Continuity, Repetition, and Closure

(a)  

generally we group visual units by location, orientation, shape, and color.
Below, Sol LeWitt uses Grouping by the shapes of squares.

(a)  

a unifying force created by the outer edge of a composition; it allows us
to seek connections among visual units and add definition to the negative space
around each form. Here the gallery walls, floor, and ceiling are acting as the
Containment for the objects

(a)  

the distance between visual units. Looking at the squares within the
composition and how the parts are spaced from one another

(a)  

defined as a fluid connection among compositional parts. Using similar
shapes to create this

(a)  

occurs when we use the same visual element or effect any number of times in
a composition

(a)  

the mind’s inclination to connect fragmentary information to produce a completed
form. Here your brain is reading the negative space as the word Welcome

(a)  

refers to the distribution of weight or force among visual elements

(a)  

forms are mirrored on either side of a central axis

(a)  

design elements extend out from a central poin

(a)  

creates equilibrium among visual elements that do not mirror each
other on either side of an axis

(a)  

refers to the size of a form when compared to human size or another form.
Looking at the stool compared to the giant sphere

(a)  

refers to the relative size of visual elements within an image/object.
Looking at the image of the head

(a)  

special attention given to some aspect of a composition to increase
its prominence. The copper figure on the bracelet becomes an Emphasis by the use of a
color

(a)  

primary point of interest in a composition; used to emphasize an area of
importance or to provide a strong sense of compositional direction

(a)  

can be defined as the organization of repetitive elements or effects into a
deliberate pattern. Just as a musician creates a deliberate pattern connecting sound and
silence, the artist can create rhythm using positive and negative space

(a)  

occurs when we use the same visual element or effect any number
of times within a composition

(a)