GLOSSARY

AND TERMS FOR

3-D DESIGN AND SCULPTURE

DESIGN:
v. to mark out, to plan, purpose, intend...
n. a plan conceived in the mind, of something to be done...
n. adaptation of means to end...
The Shorter Oxford English Dictionary
ELEMENTS OF 3-D DESIGN
Color: can refer to the actual color of the material being used (inherent color,) or
to an applied color such as a paint finish
(applied color.)
Line: the edge or outline of a form, the meeting of planes; linear materials
include: wire, wood, metal rod, string or any materials with a long thin shape.
Mass/ Volume: closed, independent, three-dimensional form, completely
surrounded by space. Volumetric materials include blocks of plaster, wood or
stone. Sometimes mass refers to a positive solid and volume refers to a
negative, open space surrounded by material, as in a bowl or other vessel.
Plane: a flat or level surface planar materials include foam core, cardboard,
sheet metal, plastic sheets, and plywood.
Space: positive and negative: positive space is space occupied by matter.
Negative space is empty space defined by positive space.
Texture: the surface quality of a form rough, smooth, weathered and so on.
Value: light and shadows on the surface of forms; quantity of light actually
reflected by an object's surface; value changes might be affected by the addition
of color to the surface of a work.
METHODS FOR CREATING 3-DIMENSIONAL FORMS
THE FOUR BASIC METHODS FOR CREATING 3-DIMENSIONAL FORMS ARE
AS FOLLOWS:
1. Subtraction: the old clich of the sculptor seeing his "ideal form"
within a rock (or other mass of material) and carving or chipping away at
the excess until he finds it, or "frees" it.
2. Manipulation: modeling malleable materials such as clay.
3. Addition: a sculptural method in which form is created by building up
materials. This method encompasses many contemporary materials and
techniques, such as the assemblage of objects from wood, metal, plastics,
adhesives, fasteners, etc. Objects made using techniques from the world
of furniture construction and carpentry are included in this category, as are
objects welded or riveted together, or made from found materials.

4. Substitution: the creation of a duplicate of an object (either found or

made) by making a mold of that object and casting another material into
the mold to make the replica.

VOCABULARY COMMONLY USED WHEN DESCRIBING 3-D DESIGNS

Abstract: (adjective) referring to art that simplifies, emphasizes, or distorts
qualities of a real-life image rather than art that tries to represent its surface
details accurately. In some cases, the intent is to present the essence of an
object rather than its outer form.
Abstract: (verb) to simplify, emphasize or distort qualities of a real-life image.
The verb abstrahere, from which abstraction is derived, literally means to pull or
draw away. Thus abstraction, in the purest sense, begins with reality and draws
away from it, revealing the underlying lines and geometric shapes, transforming a
figure or potted plant into something hardly recognizable.Kendall Buster and
Paula Crawford
ADDITION: a sculptural technique meaning to build up, to assemble or to put on
Adhesion: attachment of two materials by means of an adhesive (glue).
Allusion: a reference made by an artwork to a recognizable thing from the world,
or to another artwork, literary work etc. Jean Arps abstract biomorphic sculptures
allude to the human body without literally depicting body parts.
Amorphous: having a shape without clarity of definition/ formless, indistinct, and
of uncertain dimension.
Anthropomorphic: having qualities reminiscent of the human form; referring,
however remotely, to the human form or human gestures.
Armature: an internal structure created to strengthen and support a threedimensional object. Wire is often used to create an armature under clay.
Articulated: attached with a flexible or movable joint, as in the digits of a finger.
Assemblage: a work generated from a variety of objects and/or forms originally
intended for other purposes.
Attenuated: made longer and thinner than normal, like Giacomettis sculpted
figures or Pontormos painted figures.
Axis: a line, real or imagined, around which the material that composes an
object appears to be organized.
Balance: ordered relationship of parts. whether symmetrical or asymmetrical;
equilibrium.
Symmetrical Balance: equal visual units right and left/ top to bottom of an
imaginary center point.
Asymmetrical Balance: visual balance achieved by dissimilar visual units; for
example, two or three small shapes on the right balancing one larger shape on
the left.
BALSA WOOD: a very soft wood used for carving and crafts
Biomorphic: forms like those generated in nature; curvilinear, organic forms.
BASE: the portion of the work on which the sculpture rests.

BOZZETTO:(Italian) A small terracotta sketch of a sculpture: see

Cantilever: a structural member, as in architecture, projecting from an upright,
and unsupported at the opposite end.
CARVING: Carving is one of the oldest sculptural techniques. It is a subtractive
process; starting with a solid block, the sculptor removes material using chisels
and other tools to 'reveal' the finished form. Traditional carving materials include
stone, especially marble, and fine grained woods.
Cast: a form made by creating a mold (of plaster or clay) into which a material is
poured in liquid form allowed to harden and removed from the mold
CHISEL: a sculptural tool used in the subtractive process. Chisels are used by
sculptors for carving stone, wood, and other materials.
COLD CAST BRONZE: A modern method of casting sculptures in which the
casting material is a resin mixed with powdered bronze. The finished sculpture
has a surface which looks very similar to a traditionally cast bronze although it
tends to be much lighter.
Content: the subject matter of a work of art plus its emotional ineffectual
symbolic
spiritual and/or narrative implications as opposed to its form.
Clich: an overused expression or a predictable visual treatment of an idea.
Collapsible: having the capacity to adjust in size to meet a practical need. Manmade objects that fold up, inflate and deflate, and telescope are all considered
collapsible.
Composite material: a new material created when two or more materials are
fused together. Examples include plywood, Medium Density Fiberboard, and
foamcore.
Composition: an ordered relationship among parts or elements of a design.
Compound Angle: exists when an object has angled cuts in two planes, or
axes.
Compound Curve: a curve which operates on more than one axis. A dome is a
compound curve. A material like poster board resists taking on compound
curves-- it curves easily on only one axis.
Concave: a negative area in a plane or surface, a scooped out or indented form
or area.
Connective system: the means by which two materials or parts of an object, are
connected. Furniture joints are connective systems, as are hinges (a flexible
connective system), Velcro, buttons, and so forth.
Content: the substance of a work of art, including its emotional, intellectual,
symbolic, thematic, and narrative connotations.
Continuity: organized movement or rhythm (repetition, alteration and
progression).
Contrast: different qualities or characteristics in a form; interest generated in a
work by using a variety of shapes, forms, textures and so on.
Contour: the outline of an object.
Convex: a protrusion, or outwardly pushing form.

Craft: the tradition of the manipulation of a given material; the act of working a
given material using time-honoured techniques. Critique: any means by which
strengths and weaknesses of designs are analyzed.
Craftsmanship: aptitude, skill, or quality workmanship in use of tools and
materials.
Cross cut: A saw cut made across the length or across the grain direction of a
piece of wood.
Cross-section: a slice taken through an object. Taking multiple cross sections
of an object (through the x, y and z axes) allows its form to be described on a
two dimensional surface.
Curvilinear: consisting of or bounded by curved lines: a curvilinear figure.
Decorative: pertaining to elements which enhance the surface of a designed
object but which are not integrated into the structure of the object.
Density: the extent to which compositional parts are spread out or crowded
together.
DIRECT CARVING: Also referred to as taille directe. A less planned approach to
carving in which the sculptor carves the finished sculpture without using
intermediate models or maquettes. The sculptor typically works from
memory, though some such as Cornellia Van A. Chapin would carve with a
model in front of them.[1] The practice gained prominence in the early 20th
century and, in some respects, was seen as a return to the direct approach used
in primitive art.
Disparate: separate, distinct, dissimilar (often applied to objects or elements
placed together in a composition).
Dominant: refers to elements in a composition; the dominant volume is the
largest element in a group, the most interesting and dramatic in character.
Economy: the use of only the bare essentials needed to perform the intended
task.
Elegant: with respect to design (or mathematics): ingeniously simple and
effective, free of extraneous detail.
Elevation: in orthographic projection, the front, back, and side views of an object
or architectural structure.
Emotive qualities: the qualities of an object or an image that arouse feeling or
emotion in the viewer.
Ergonomic: designed with the comfort of a human user in mind. Ergonomic
design is concerned with the relationship of humans to their physical working and
living environment.
Exploded View: a technical drawing showing the components of a mechanism
separated but in the normal relation to one another. Such a drawing allows
hidden or internal parts to be clearly seen.
Extrusion: the shaping of a material by forcing it through a die or template (for
example, different pasta shapes are made by extrusion of dough through
differently-shaped fittings.) In three-dimensional computer modeling, the process
of giving depth to a two-dimensional shape.
Fabrication: the action or process of manufacturing or constructing something.
Figurative: drawing, painting and sculpture based on the human form.

Footprint: the contour of an object as viewed from directly above.

Form:. The means by which one gives substance to an ideaKendall Buster
and Paula Crawford. The embodiment of a concept in a material state. Form
can also be used in place of the word shape when describing a threedimensional object.
Formal: concerning the form, shape, appearance, arrangement, or external
qualities of an object (as opposed to its meaning, for example.)
Function: the goal that must be achieved by a design, or the work to be done by
a designed object (a chairs function is usually to seat a person more or less
comfortably.)
Fusion: joining two materials by melting them together, as in welding.
Gesture: a sense of direction or movement suggested by the arrangement of
elements in a work of art.
Geometric: mechanical, human -made shapes (square, circle, triangle,) with
regular edges.
Grid: systematic placement of objects along repeated lines on the x and y axes.
Or, the alignment of structural members such that they form repeating
rectangular compartments.
Harmony: resolution of forces in opposition.
Hybrid: a fusion of two unlikely or incongruous elements; the new, unnamed
form created by the blending of two recognizable forms.
Illusionistic space: the illusion of real, three-dimensional space created on a
two-dimensional surface by painting, drawing, photography etc.
Implied movement: the visual suggestion of movement in a static object.
Interdependence of parts: all parts of an object or structure play an equal role
in constituting and supporting the object. No part is merely decorative.
In-the-round: viewed from all angles. When we say that a piece of sculpture or a
designed object functions well in the round, we usually mean that it doesnt have
an obvious front or back--- it is equally interesting from any angle.
Isometric Drawings: are 3D drawings. They show three sides, all in dimensional
proportion, but none are shown as a true shape with 90 degree corners. All the
vertical lines are drawn vertically but all horizontal lines are drawn at 30 degrees
to the base line. Isometric is an easy method of drawing 3D images.
Juxtaposition: placement side by side; relationship of two or more elements. in
a composition.
Kinetic: construction that contains moving elements set in motion by air, motors
or gravity.
Lamination: the connection of two or more layers of a given material into a
larger unit, by means of glue. The process of gluing multiple plies of wood into
a curved form is known as bent lamination.
Linear: involving or consisting of lines, looking like a line, narrow and elongated.
Malleable, malleability: the capability of being molded, taking shape or being
made to receive desired form.
Maquette: a small, scale model for a work intended to be enlarged.
Material: the substance that an object or a work of art is made from, whether
steel, stone, wire, wood, etc. In the past century, artists and designers have often

celebrated materials by designing for a given material, rather than hiding it

under surface treatments.
Meaning: the idea that a piece of art conveys, or aspires to convey. Often,
viewers will see a variety of meanings in the same piece, based on their differing
experiences.
Mechanical fastening: connecting two parts using hardware or interlocking
joinery, instead of adhesives.
Medium, media (pl): The material(s) and tool(s) used by the artist to create the
visual elements perceived by the viewer. Minimal: in art, characterized by the
use of simple or primary forms, structures, etc., often geometric and massive.
Mixed media: combinations of different materials to create a visually and
physically coherent whole.
Modular: involving the systematic use of a single unit of design, repeated and
varied in position, angle, or combinations creating larger forms or units.
Mobile: hanging sculptures that turn when moved by air currents.
Modeling: shaping pieces from a pliable material such as clay by using the
hands and hand tools.
Mold: a negative form made by pouring or shaping materials over or around an
object with the intention of making a duplicate of that object.
Multiple: a single unit repeated many times to form an artwork. A multiple may
be produced by a moldmaking process, printmaking process, or by another
means of mechanical reproduction.
Nonrepresentational: works of art that are purely self-referential, as opposed to
those that allude to known things in the world. Object: anything that is visible or
tangible and stable in form. A thing.
Objective (adjective): an objective description of a piece of art refers to
undisputable facts about the artwork, as opposed to opinion. The sculpture is
made of stainless steel and is six feet long would be an objective description.
Organic: free forms representing living things that have irregular edges. Also,
biomorphic.
PAPERMACHE: in French, it means chewed paper. This versatile technique of
molding paper into permanent shapes originated in China, was learned by the
Europeans in the 18th century and reached its zenith as a popular craft in
Victorian England. An art material made of paper torn into strips or made into
pulp and mixed with paste or glue. It can be molded into various shapes when
wet and produces a solid material that is quite strong when it dries.
Patina: the thin layer of coloration usually green or town that appears on a a
bronze
surface as it oxidizes or weathers.
Perforated: pierced with a hole or holes, as in Swiss cheese.
PLASTICENE: is an oil-based clay used for modeling sculptures; its chief
advantages over water clay is it does not shrink, crack or dry out and can be
worked on over a long period of time.
PLASTER CAST: is a copy of a sculpture, which is cast in plaster. A plaster cast
can accurately reproduce the details of the original sculpture, but is usually much
less durable. It is often used as a stage in the casting process.

PLASTER OF PARIS: a fine white powder which sets hard when mixed in water,
mixed 2 to1
POINTING: is used to accurately transfer measuring points from a model or
maquette into stone or wood, in order to carve an accurate copy. This is called
the indirect method of carving.
Platonic solids: each of the five regular polyhedra (tetrahedron, cube,
octahedron, dodecahedron, icosahedron).
Polyhedron: a solid figure or object with many (usually more than six) plane
faces.
Presentation: The way a piece of art is displayed to the viewer, including its
method of support. Methods of presentation include mounting a piece of
sculpture to the wall, plopping it on a pedestal, or hanging it by fishing line.
Methods of presenting a two-dimensional work like a drawing include framing it
or pinning it directly to the wall.
Process: In art, the means by which an object is produced. Sometimes, the
obstacles posed by a particular fabrication process influence the look and even
the meaning of the final work of art.
Proportion: elements compared, one to another, in terms of their properties of
size, quantity, and degree of emphasis.
Radial: compositions that have the major images or design parts emanating from
a central location.
Realism: visual accuracy in artistic representation from known objects.
Rectilinear: characterized by straight lines.
Relief: sculpture in which forms project from a background, usually mounted on
a wall. It is classified according to the degree to which it is raised from the
surface: high relief, forms moving out from the surface; low relief, forms
remaining close to the surface.
REPLICA: An exact copy or reproduction of an artwork, sometimes made on a
smaller scale than the original.
Representational: forms that resemble other known objects, figures etc (as
opposed to entirely abstract, non-representational forms.)
Rhythm/ Repetition: rhythm is the result of repetition; three rhythmic devices
include:
1) The duplication of the same form
2) Two forms used alternately; and
3) The sequential change of a form (large to small, for example.)
Rip cut: A saw cut made parallel to the long edge of a board, or with the grain
direction of a board.
ROUGHING OUT: The process of carving out the basic shapes of a work before
any detail is created.
SAND CASTING: A method of casting typically used for casting iron, in which the
mold is constructed from compacted
sand. By its nature, the mold can only be used once and needs to be reformed
for each casting[3]

Self-supporting: In sculpture, an objects ability to present itself to the viewer by

standing directly on the floor or ground surface, rather than relying on a pedestal
or other external means of presentation to support it.
Scale: the size of an object in relationship to other objects and to its
surroundings
site specific referring to works expressly designed for and installed in a particular
location.
Sculpture: the art of expressive shaping of three-dimensional materials.
SCUMBLE: to lay a light, semi-transparent color on a surface already painted
with another color, to unify or soften the area and create a textural quality;
usually accomplished with a dry-brush.
STATUE: A carved, modeled, or sculpted three-dimensional figure, especially of
a person or animal, that stands up by itself.
Subjective: dependent on interpretation, not clearly quantifiable or easily
verifiable. (The sculpture is beautiful, is a subjective statement, as opposed to
the sculpture is shiny and red, an objective statement.)
Subtraction: creation of a work of art by carving away the excess from a larger
piece of material.
Super realism: extremely accurate representation of actual there dimensional
objects.
Surface: the planar areas of an object; the outermost part of an object, the part
that can be seen or touched.
Structure: the way to achieve the most strength from the least material, through
the most appropriate arrangement of elements within the best form for the
intended use, and constructed from the material most suited to the kind of stress
placed upon it. (from Origins of Form by Christopher Williams.)
Style: the specific artistic character and dominant trends of form noted during
periods of history and art movements. Style may also refer to artists' expressive
use of media to give their works individual character.
Stylization: The simplification of a form to emphasize its design qualities. In
representational drawing or sculpting, stylization can mean working from
preconceived ideas about the figure as opposed to drawing or sculpting what is
there.
Symbol: conventionalized images that convey commonly held cultural values
(Stephen Luecking). An example is the flag of the United States.
Tactile: perceptible to touch; that which is tangible.
Telescoping: having parts that slide into one another, allowing for lengthening or
shortening of the object (like a telescope, tripod or camping mug.)
Temporal: relating to existence in and perhaps change through time.
Tensile structure: a structure like a tent, consisting of a frame made of
lightweight linear elements with fabric stretched over it. The skin provides the
tension which makes the structure strong.
Texture: the tactile surface characteristics of a work of art that are either felt or
perceived visually.
Three-dimensional: having height, width, and depth; a thing existing in space
Translucent: allowing light to pass through, but not defined objects.

Transparent: a form or plane which can be seen through, such as glass.

Truss: a linear structure composed of triangles. Bridges and other structures
rely extensively on trusses for their strength.
Undercut: In moldmaking, the point beyond the halfway mark on an object. If a
positive to be duplicated has undercuts, the mold cannot be removed without
compromising the mold or the object.
Utility: the serviceability and practicality of an object (as distinct from its
aesthetic qualities.)
VOID: An opening, gap, hole, or empty space, often used in modern sculpture.
Voids are an important feature in the sculpture of Henry Moore.