Art Test 1

Front 1

design

Back 1

a plan for order, a selective process

based on universe

--> our creativity based on what we see in nature

to create, parts guide that viewer to an image we want to share

Front 2

order

Back 2

to arrange, regulate

Front 3

elements

Back 3

ingredients composing a design

line, space, shape, form, color, texture

Front 4

principles

Back 4

manner way ingredients are combined, RECIPE

unity, variety, balance, emphasis, rhythm, proportion, scale

Front 5

keynotes of a good design

Back 5

uniqueness and creative

achieved thru combo ele. + principles

objects have meaning based on subjective perception/interpretation

Front 6

why create

Back 6

1. get absorbed in the experience
2. to --> beauty
3. to shock
4. express contemporary realism: show life how it actually is, 'wholeness of life'
5. fund. need to express something
6. fulfill specific need; creativity

Front 7

visual design

Back 7

object has meaning based on subjective perception (keynote)

Front 8

perception

Back 8

total experience of seeing

reaction results from perception which has been influenced by enviro., genes, culture

limited to experiences

***TIME is main interference in percetion...hands/eyes of viewer, analysis and develop depend on willingness to spend time

Front 9

what is the main interference in perception?

Back 9

TIME is main interference in perception...hands/eyes of viewer, analysis and develop depend on willingness to spend time

Front 10

visual design: gestalt

Back 10

whole isn't >er than but is DIFF than sum of parts

forms are suggested

results from perception

ex: dots arranged in a sqare --> looks like a square

Front 11

visual design: closure

Back 11

shapes indicated, have pieces of something and mind implies

Front 12

visual design: figure/ground

Back 12

ground: obj has focus --> figure

we see what our personal experiences allow us to see and we react/rebel accordingly

Front 13

how to judge good design

Back 13

1. express the material in which it was created
2. aethetically pleasing form
3. does purpose for which intended

Front 14

"plan for order" implies

Back 14

arrangment of materials into a form that will fulfill a purpose

Front 15

the design process

Back 15

1. inspiration
2. concept
3. problem solving
4. integrity
5. originality
6. craftsmanship

Front 16

the design process: inspiration

Back 16

new relationships in unique terms --> new form to show others

Front 17

the design process: concept

Back 17

all designs begin w/ a CONCEPT --> initial generalized idea, framework, basic, add to it later

perception based on problem analysis --> need solution!

Front 18

the design process: problem solving

Back 18

A SERIES OF DECISIONS
a) parameters of a problem, limits, constraints ex: marble
b) inner resources: originality, personal perceptions, enviro, acquired resources
c) creativity: imaginative, brainstorm, drawings, exclude nothing
d) analysis: reality --> possible? problems forsee, imaginatoin bk to reality
e) production: be flexible, change, apply integrity (materials, form, func.), actually be machinically ok?
f) clairification: done, may not = original vision, assess strengths/weaknesses, growth for designer

Front 19

the design process: integrity

Back 19

code of values, state being whole or complete, unity of conception

...of materials: characs that last, capability, avail., craftmanship
...of form: beautiful yet functional, can refine to fit needs
...of function: integ of func elminates faults that -->es malfunction, flaw in 1st decision making, choice of materials

Front 20

the design process: craftsmanship

Back 20

not sloppy

Front 21

line

Back 21

MOST fund of design elements
...from nature: perception of humans to make something a line
...a basic tool
...--> shape when lines together, delineates space

begins with a point, straight and curved lines


--> aesthetic result

Front 22

combo of lines =

Back 22

a pattern

Front 23

line is a matter of ____

Back 23

expression

line is a pt of draftsmanship: precise, accuracy of buildings, etc

Front 24

line becomes ____

line expresses ___

Back 24

line becomes SHAPE,
expresses emotion

Front 25

characteristics of line

Back 25

active & visible or
passive and invisible/implied

Front 26

symbolic line

Back 26

becomes a symbol when meaning attached to it, --> message, communication (art, alphabet)

fundamental need to make your mark

Front 27

space

Back 27

-vehicle where shapes and forms exist
-determing aesthetic quality
-all physical things exist in space

Front 28

three types of space

Back 28

pictorial

illusionistic

actual

Front 29

pictorial space

Back 29

achieved by flow of space among shapes/forms in design

design related to a flat surface

ex: murals w/ hills, children

Front 30

implied space

Back 30

makes us aware of more space than is actually visible on paper/canvas

leads viwers eyes based on what can be expressed on paper/canvas
ex: b allarinas and bar, extends beyond canvas

Front 31

illusionistic space

Back 31

impression of 3-D, --> depth
overlaping
tierring/layering
size
perspective
linear
one point: vanishing pt
atmospheric: landscape

Front 32

actual space

Back 32

real space, tangible part of 3-D object

ex: sculpture, pottery, building

when you walk thru a building you experience space

Front 33

perceptions of space:

Back 33

time and motion

Front 34

negative space

Back 34

blank space

Front 35

shape

Back 35

2-D, flat

Front 36

natural shape

Back 36

from nature: enviro, trure to life

Front 37

geometric shape

Back 37

straight, curved lines, exists in nature but constructed by humans

ex: sweater w/ geometric print

Front 38

abstract shape

Back 38

natural shapes altered to emphasize certain qualities

natural shape simplified into basic charac as perceived by designer

Front 39

nonrepresentational shape

Back 39

does not originate

nonojbective from recongzeable shape/obj, from the imagination

no reference to real objects

Front 40

form

Back 40

3-d, depth mass and volume

extention of shape

same category of shape

Front 41

naturalistic form

Back 41

derived from things in nature

scultpure/carvings of humans, animals, birds

Front 42

geometric form

Back 42

straight and curved lines w/ depth, m and v

Front 43

abstract form

Back 43

natural formed -->ed to emphasize certainq ualities

Front 44

nonrepresentational form

Back 44

no recognize shape/form

Front 45

texture

Back 45

experienced through sense of sight and touch

varying degrees: very rough --> very smooth

carry emotional assocations:
smooth/slcik =?
rough/fuzzy=?

Front 46

2 categories of texture

Back 46

tactile texture and visual texture

Front 47

tactile texture

Back 47

intrinsic to the material
experienced thru touch
looks and feels textural
represents surface and underlying structure
light and shadow important
sensory interest and emotional response

Front 48

visual texture

Back 48

applied to an existing surface
surface places role
experienced thru sense of sight
rep of texture: photo, paitning etc

Front 49

pattern

Back 49

motifs repeated at regular intervals

creates an orderly overall design

sim in size and shape --> repetition

repeated in orderly distribution

Front 50

color

Back 50

most appealing of all elements
emotional responses: happy, sad, angry, peaceful

both an art and a science
art: graphic design, paiting
science: physics, chem

Front 51

without light =

Back 51

without light = NO COLOR

Front 52

what we perceive as color is due to

Back 52

1) electromagnetic wavelength of light..visible spectrum ROY G BIV
2) objects absorb all wavelengths EXCEPT observed color
3) how the brain interprets what is seen based on prior training, meories, associations

Front 53

light conditions

Back 53

time of date
indoors v. outdoors

Front 54

light color perception

Back 54

artificial/natural light
climactic conditions (cloudy, full sun)

color in various light conditions

Front 55

color theories

Back 55

'color wheels'

Ives
Munsells

Front 56

Ives color wheel

Back 56

traditional

RYB primary
OGV 2nd
RO YO YG BG VB RV 3rd

Front 57

pantone

Back 57

fashion design

Front 58

Munsells color wheel

Back 58

R Y G B P primary
RO YO YG BG VB RV 6 tertiary

most scientific, used by gov't

defines color thru value/lightness and chroma/brightness

Front 59

Munsell defines color thru

Back 59

hue
value
chroma

Front 60

hue

Back 60

name of color

Front 61

value

Back 61

how light/dark a color is
tint: light value of hue ex: pink of red

shade: darker value ex: maroon shade of red

Front 62

tint

Back 62

lighter value of hue

ex: pink tint of red

Front 63

shade

Back 63

darker value

ex: maroon shade of red

Front 64

chroma

Back 64

intesnity,saturation, dullness, brightness
tone: hue grayed w/ black or other color

Front 65

color schemes

Back 65

'color harmonies'

aesthetically pleasing combo of colors

Front 66

types of color schemes

Back 66

analogous
complimentary
split-complement
monochromatic
achromatic
neutral

Front 67

monochromatic:

Back 67

based on one color/hue

ex: green w/ neturals

Front 68

achromatic

Back 68

black and white

Front 69

split complement

Back 69

Y shape on color wheel