Art 105 Test Two

Front 1

Morphology

Back 1

the study of design and compostion

Front 2

Design(compostion)

Back 2

The structure of art.

Front 3

The elements

Back 3

1. line
2. color
3. Form (shape)
4. Texture
5. Space

Front 4

The Principles (rules)

Back 4

1. Balance
2. Pattern
3. Emphasis
4. contrast

Front 5

The Elements of Line:
Some important functions of line

Back 5

a. create eye movement
b. define shape
c. create textural surface
d. produce certain moods

Front 6

The Elements of Line:
Line Structure and moods
The vertical line:

Back 6

Power, dignity and strength

Front 7

The Elements of Line:
Line Structure and moods
The Horizontal line

Back 7

Rest, calm, serenity

Front 8

The Elements of Line:
Line Structure and moods
The Diagnoal Line

Back 8

action, movement, dynamics

Front 9

The Elements of Line:
Line Structure and moods
The curved Line

Back 9

Soothing, grace, sensuality

Front 10

The Elements of Line:
Line Structure and moods
The Broken Line

Back 10

can envoke a sense of appreciation, irritability or concern

Front 11

The Elements of Line:
Implied Lines

Back 11

Lines can be implied where they do not actually exist. A row of trees can suggest a line your eyes will fill in the space between a series of dots or marks, creating a line. Edges of objects, shapes or forms.

Front 12

The Elements of Line:
Line Combinations

Back 12

Thin, fat, medium lines

Front 13

The Elements of Line:
Cross-hatched lines

Back 13

Short quick, criss-crossing strokes, suggests texture

Front 14

The Elements of Line:
What balances a dominant Diagnol line?

Back 14

A Countering balancing diagnol (a Line going the other way) balances the work

Front 15

The Element of Color:
The color wheel

Back 15

useful device to understanding color relationships

Front 16

The Element of Color:
The SOURCE of color

Back 16

light is the source

Front 17

The Element of Color:
Neutrals

Back 17

Blacks, Whites, grays

Front 18

The Element of Color:
The properties of colors:
Hue

Back 18

The name of a color. It refers to the position in the light spectrum

Front 19

The Element of Color:
The properties of colors:
Hue:
Primary hues

Back 19

red, blue, yellow

Front 20

The Element of Color:
The properties of colors:
Hue:
Secondary Hues

Back 20

mixing two primaries
Orange, green, violet

Front 21

The Element of Color:
The properties of colors:
Hue:
Tertiary/ Intermediate Hues

Back 21

Primary and neighboring secondary.
Red-orange, yellow-orange, yellow-green, Blue-green, blue-violet, red-violet

Front 22

The Element of Color:
The properties of colors:
Value

Back 22

Refers to the lightness or darkness of a color

Front 23

The Element of Color:
The properties of colors:
Value:
Tint

Back 23

add white to hue

Front 24

The Element of Color:
The properties of colors:
Value:
shade

Back 24

add black to hue

Front 25

The Element of Color:
The properties of colors:
Intensity

Back 25

The brightness/dulness of a color

Front 26

The properties of color

Back 26

Hue
Value
Intensity

Front 27

The Element of color:
Color harmonies

Back 27

colors that go well together, color schemes - same thing

Front 28

The Element of color:
Complementary Colors

Back 28

2 colors, opposite side of the color wheel. Purple and yellow

Front 29

The Element of color:
Analogous Colors

Back 29

3 colors next to eachother on the wheel that have single color in common. Yellow-green, green, blue-green

Front 30

The Element of color:
Split Complementary

Back 30

3 colors usning the 2 colors next to the complementary. Red: blue-green, yellow-green

Front 31

The Element of color:
Triadic Harmony

Back 31

3 colors equi distance on the wheel making an equal lateral triangle

Front 32

Cool colors

Back 32

red-violet

Front 33

The Element of color:
Monochromatic Colors

Back 33

When an artist uses one color

Front 34

The Element Shape/Form:
The difference between shape and form:

Back 34

Shape: 2d
Form: 3d

Front 35

The Element Shape/Form:
Two Categories of Shape
Geometric

Back 35

Easily recognized. Such as circles squares, triangles, etc. The geometric shape is precise and sharply defined

Front 36

The Element Shape/Form:
Two categories of shape
Organic

Back 36

Reflect the free-flowing aspects of growth. Most natural objects are organic

Front 37

The Element Shape/Form:
Positive and Negative Shapes

Back 37

Positive shapes/forms are the colid, tangible aspects of the composition. Negative shapes/forms are the areas that either surround the shape/form or exist bewtween/forms. For the artist, the negatives are as important as positves in a design.

Front 38

The Element Shape/Form:
Qualities of Shapes

Back 38

Light and heavy shapes
Smooth and textured shapes
Static and Dynamic Shapes

Front 39

The Element of Texture:
Texture:

Back 39

one of the prime ingredients of surface quality. Texture denotes a material's characteristic physical structure. The texture readily identifies the material....a tactile element.

Front 40

The Element of Texture:
Two Kinds of Texture
Real(Actual) Texture

Back 40

A) ACTUAL / REAL TEXTURE – This category usually emphasizes the surface qualities of the medium with which an artist works with, as it is applied to the working ground such as a canvas. Van Gogh’s paintings serve a particularly good example of the surface qualities of the oil medium. In Van Gogh’s paintings, rough textures have been produced by building up pigment on the canvas, (this technique is called impasto). It is significant that painters such as Vincent regard actual textures as an aid to his expression. Yes, it is true that one can see the wheat field or cottage in his paintings, however, his expressive mode rests with the viewer ‘feeling’ the substance of the oil paint. In fact, you immediately see the emphasis placed on the textural qualities of the oils.

Front 41

The Element of Texture:
Two Kinds of Texture
Simulated/Implied/Illusionary Texture

Back 41

B) SIMULATED / IMPLIED / ILLUSIONARY TEXTURE This kind of texture is very common in the field of art. Such textures call for a careful rendering or copying of the light and dark patterns created by surface character. The Dutch and Flemish (think of Vermeer & Van Eyck) produced amazingly naturalistic effects in still life, portraits, and genre paintings. Simulated textures are often associated with trompe l’oeil paintings which make a blatant attempt to “fool the eye.”

Front 42

The Element of Space:
In order to create true space (3d reality), The artist will have to use the technique called____. It was during the _____ that artists mastered this system called_____.

Back 42

Perspective,Renaissance, Perspective.

Front 43

The Element of Space:
Linear Perspectives

Back 43

a mechanical system of drawing to give the illusion of depth on a flat surface. All straight, parallel lines receding into the distance are drawn to one or more vanishing points in such a drawing.

Front 44

The Element of Space:
Aerial or Atmospheric Perspectives

Back 44

a way of drawing that shows depth in space by such methods as overlapping objects, using lighter values for more distant objects, using less detain in distant objects, (objects further away from us appear less distict, often cooler or bluer in color, and the contrast between light and dark is reduced), and using warm colors for nearer objects. Leonardo da Vinci is responsible for formulating the rules of aerial perspective

Front 45

The Element of Space:
Forshotening

Back 45

The representation of forms on a two-dimensional surface by presenting the length in such a way that the long axis appears to project toward or recede away from the viewer.

Front 46

A good composition:
The five aesthetic elements of design discussed in class are the fundamental building blocks that artists use to create a work of art. When the artist arranges these elements in a visually pleasing way, they are ____. Thus we can interchange the terms_______&__________.

Back 46

composing, design and composition.

Front 47

A Good Composition:
Center of Interest

Back 47

a focal point, main attraction. the area where the eyes go immediately, (doesn't have to been an item, just an area). Often placed in accordance to the rule of thirds

Front 48

A good Composition:
Eye Movement

Back 48

the artist must allow the compostion to move & not remain static. Eye movement often leads the viewer to the center of interest.

Front 49

A good composition:
Balance

Back 49

As in our everyday living, balance is important.

Front 50

A good composition:
3 types of balance

Back 50

Formal Balance(Symmetrical Balance)
Informal Balance (asymetrical Balance)
Radial Balance

Front 51

A good composition:
Formal Balance(Symmetrical Balance)

Back 51

the arrangement of equal shapes placed to the right and left of the picture axis. this type of balance can be seen in Leonardo's Last Supper.

Front 52

A good composition:
Informal Balance (asymetrical Balance)

Back 52

a composition that has two apparently balanced halves that are not a mirror image of one another. Though the two sides of the design do not match they seem to possess the same visual weight, (visual weight refers to the apparent lightness or heaviness of the visual element on each side of the composition). Often the artist can achieve this by placing the lighter weighted element further from the picture axis to counter balance the heavier element on the other side.

Front 53

A good composition:
Radial Balance

Back 53

this type of balance allows everything to radiate outward from a central point. Examples of this would be a Rose Window on a Gothic Cathedral or a bicycle wheel. Several examples of radial balance can be seen in nature.

Front 54

The Principles of Design
2. PATTERN

Back 54

Any formal element that repeats itself creates a
Pattern. Therefore, pattern may be achieved by repeating a shape, line, or color. Nature is a master designer of pattern
and artists have often been inspired by its lessons.
A term which is connected to pattern is called, MOTIF.

Front 55

The Principles of Design
3.EMPHASIS

Back 55

A principle of design by which the artist may use
opposing sizes, shapes, contrasting colors or other means to
place greater attention on certain areas or objects. Artist’s
employ emphasis in order to draw the viewer’s attention to one area of the work. We refer to this area the focal point or center of interest.

Front 56

The Principles of Design
4.CONTRAST

Back 56

A principle of design that refers to differences in
colors, values, textures, and other elements in an artwork. Besides
achieving emphasis ( # 3), it also creates contrast. The intentions for contrast are many; however, as a viewer, one sees dramatic variety through the use of this principle. Some examples are thick bold lines contrasted with thin delicate lines…similar shapes of
different sizes…angled-edged shapes contrasted with some curved
shapes. Contrast gives design a “more interesting” look.

Front 57

Motif =

Back 57

The dominant idea or feature in a work of art. Patterns
can be made by repeating this motif.
The principle of pattern is an especially important decorative
tool.

Front 58

The 7 plagues that afflict our past (in order)

Back 58

1. war
2. nature
3. pollution
4. Agriculture
5. Urban development and industrial development
6. tourism
7. looters (vandalism)

Front 59

War

Back 59

the most drastic and dramatic of the plagues (ie parthanon)

Front 60

Nature

Back 60

floods, aqua alta

Front 61

Agriculture

Back 61

Farming: Plowing, cuts pottery or something buried, irrigation does damage too if near an ancient site, water seeps in and BRINGS SALTS UP

Front 62

8TH PLAGUE?

Back 62

Indifference, not caring

Front 63

The floods of florence date and culprit

Back 63

1966, Nature was the main culprit.

Front 64

The pieta incident
date and explain

Back 64

1972, st. peters Basilica - vandalism, lazlo toth hits statue with hammer thinking he was Christ

Front 65

The david incident Date/culprit?

Back 65

1991, vandalism

Front 66

The Last Supper, Restoration. culprit

Back 66

war, nature, tourism, human error (both by artist(wrong paint) and poor restorations)

Front 67

The sistine chapel, what part, culprit?

Back 67

The ceiling and the Altar wall (as well as the prehistoric cave sites such as Lascaux), = Tourism is # 1 (people bring in debris, bacteria, co2, human heat) , followed by nature.

Front 68

The Brancacci chapel culprit

Back 68

(Masaccio’s Expulsion from the Garden fresco) = Pollution

Front 69

The bell tower at pisa

Back 69

Nature( sinkhole)

Front 70

The restoration of the church of St. Francis at assisi

Back 70

Nature (earthquake)

Front 71

The Defacement of Guernica date culprit?

Back 71

1974, vandalism

Front 72

The Plight of _____. Culprit?

Back 72

Venice - queen of the adriatic, aqua alta. Nature

Front 73

•The Athenian Acropolis (in particular, The Parthenon

Back 73

# 1 is Pollution, war, & nature

Front 74

The last judgment

Back 74

tourism

Front 75

The Pathenon

Back 75

The last 50 years of human civilization pollution has done the most damave of anything in its history

Front 76

The irony in cleaning surface pollution on outdoor art works....

Back 76

According to experts, cleaning may in fact speed up the
process of decay. When the “protective crusts” are removed,
result is vulnerability of original surface to more devastating
penetration of polluted air. This same protective crust,
(if left on), is slowly destroying the surface. Here lies the
problem.