Art Appreciation Ch. 2

Front 1

line

Back 1

A path traced by a moving point. The simplest element that can be complicated. Are symbols of sounds.

Front 2

shape

Back 2

A two-dimensional form. It occupies an area with identifiable boundaries. Boundaries may be created by a line

Front 3

mass

Back 3

A three-dimensional form that occupies a volume of space.

Front 4

space

Back 4

Occupied by mass.

Front 5

light

Back 5

Vital for our lives. Tells us when to wake up. Sets a certain mood. Light is worshiped. Adds feeling to the art.

Front 6

value

Back 6

How much of a element receives light.

Front 7

color

Back 7

A function of light. Affects moods

Front 8

texture

Back 8

Is literally tactile, a quality we could experience through touch.

Front 9

time

Back 9

is a cycle that has 5 eras. We can see it through light in movement.

Front 10

movement

Back 10

can be seen through lines. kinetic and implied.

Front 11

visual elements

Back 11

shapes, light, value, texture, color, lines, space, mass

Front 12

actual line

Back 12

A line that really exists. It starts and ends.

Front 13

implied line

Back 13

Made by patterns of actual line. Made from different shapes and different colors.

Front 14

outline/contour line

Back 14

Defines a two dimensional shape/ the lines we draw to record the boundaries. Make a shape of what the artist is drawing (actual line)/ functions of the line; defines shape against another shpae

Front 15

shading

Back 15

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Front 16

hatching

Back 16

parallel lines that go on forever and never touch. Darker values are achieved through additional sets of parallel lines

Front 17

cross hatching

Back 17

hatched lines crossed

Front 18

modeling

Back 18

create a form or portray optically convincing masses

Front 19

shape

Back 19

the area inside thats being limited by a line that can be implied or actual. 2 dimensional.

Front 20

geometric shape

Back 20

actual shape that has angles

Front 21

organic shape

Back 21

human body, no angles, curved lines, has movement

Front 22

figure

Back 22

the positive, main picture

Front 23

ground

Back 23

the negative; background

Front 24

figure ground relationship

Back 24

in two dimensional images, the relationship between a shape we perceive as dominant (the figure) and the background shape we perceive it against (the ground)

Front 25

figure ground reversal

Back 25

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Front 26

closed form

Back 26

compact; you don't see anything through it; self disdained (stays wherever you put it)

Front 27

open form

Back 27

can see though it; not compact

Front 28

light

Back 28

vital for our lives; adds feeling to art

Front 29

hue

Back 29

means color

Front 30

chiaroscuro

Back 30

mixing dark and light values to create a look of 3 dimensionality

Front 31

saturation/ intensity

Back 31

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Front 32

primary colors

Back 32

red, blue, yellow. They only exist and cant be created

Front 33

secondary colors

Back 33

green, orange, violet. They are created by mixing primary colors

Front 34

warm/cool colors

Back 34

yellow, red, orange/ blue, green, violet

Front 35

complementary colors

Back 35

red/green; yellow/violet; blue/orange

Front 36

monochromatic

Back 36

one color

Front 37

afterimage

Back 37

brain gets tired of looking at the same image for so long so they become complementary

Front 38

actual texture

Back 38

the real texture qualiy of the object

Front 39

impasto

Back 39

a form of giving texture to a two dimensional form

Front 40

visual texture

Back 40

what it seems to look like

Front 41

picture plane

Back 41

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Front 42

overlapping

Back 42

create illusion of depth

Front 43

vertical placement

Back 43

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Front 44

diminishing size

Back 44

artist makes background objects smaller to make things more realistic

Front 45

linear perspective

Back 45

parallel lines that appear to converge as they recede from the viewer finally meeting at a vanishing point o nthe horizon

Front 46

vanishing point

Back 46

in linear perspective the point on the horizon where parallel lines appear to converge

Front 47

atmospheric perspective

Back 47

distant objects appear less distinct, paler, and bluer than nearby objects

Front 48

actual motion

Back 48

real movement; the action of movement

Front 49

kinetic art

Back 49

real or apparent movement

Front 50

implied motion

Back 50

not really moving; repetition of space

Front 51

implied time

Back 51

implies passage of time like a narrative

Front 52

design

Back 52

organizing visual elements to create good compositions using the principle of design (unity and variety, balance, emphasis and focal point, scale and proportion)

Front 53

unity

Back 53

wholeness; repeat shapes and forms to create unity

Front 54

variety

Back 54

diversity; provides interesting point

Front 55

balance

Back 55

balance

Front 56

formal symmetry

Back 56

needs to be exact (first side symmetrical to second

Front 57

symmetrical balance

Back 57

not perfectly symmetrical

Front 58

asymmetrical balance

Back 58

an overall sense of balance

Front 59

visual weight

Back 59

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Front 60

emphasis

Back 60

the artist tryng to bring your attention to an area of the painting

Front 61

focal point

Back 61

bringing attention to a specific spot

Front 62

directional force

Back 62

artist uses implied line to get us to look somewhere

Front 63

scale

Back 63

size of an object compared to something thats normal size

Front 64

hierarchical scale

Back 64

the representation of more important figures as larger than less important figures

Front 65

proportion

Back 65

relationship of parts to the whole