Reading...
Play button
Play button
Use LEFT and RIGHT arrow keys to navigate between flashcards;
Use UP and DOWN arrow keys to flip the card;
H to show hint;
A reads text to speech;
117 Cards in this Set
- Front
- Back
|
the raised areas print
|
relief
|
|
|
lowered areas print
|
intaglio
|
|
|
greasy areas print
|
planographic
|
|
|
open areas print
|
stencil
|
|
|
working surfaces
|
matrix
|
|
|
wood blocks, metal plates, stone slabs, and silkscreens
|
different types of matrices
|
|
|
wood or linoleum for matrix. ink rolled on using a brayer. image printed in reverse
|
relief
|
|
|
oldest form of relief. made by using a knife to cut along the grain of the flat surface of a wooden board
|
woodcut
|
|
|
a wood block cut for each color. each block must be registered
|
mulitcolor woodcut
|
|
|
print recieves image of areasbelow the surface of the matrix includes gauffrage, wood engraving, engraving, drypoint, etching, mezzotint, aquatint, lithography, serigraphy, monotype
|
intaglio
|
|
|
embossing
|
gauffrage
|
|
|
many layers of endgrain hardwood are laminated together, ends are planted flat to produce a hard, nondirectional surface
|
wood engraving
|
|
|
clean-cut lines are engraved on a plate of copper, zinc, or steel, by forcing the sharpened point of a burin across the surface with the heel of the hand b/c the lines are transferred to paper under extreme pressure
|
engraving
|
|
|
dragging needle across surface, one side remains a metal burr in needle's wake. burr retains particles of ink creating soft line
|
drypoint
|
|
|
plate of copper of zinc. draws image with etching needle, plate placed into an acid bath. acid eats exposed metal and makes groove, thick ink rubbed into grooves using dauber or a lint-free cloth called tarlatan, damp paper placed on top then run through the press, soft-grounded employs a ground of softened wax and can be used to render the effects of crayon or pencil drawing
|
etching
|
|
|
a rocker (curved, multitoothed implacement) to produce thousands of tiny pits to hold the ink. scrapped/burnished areas hold less ink. broad range of tones is achieved
|
mezzotint
|
|
|
metal plate is evenly covered with fine powder of acid-resistant resin plate heated- resin adheres to surface. matrix placed in acid bath. depth of tone controlled by removing plate from acid and covering pits that have been sufficiently eched
|
aquatint
|
|
|
artist draws image with greasy crayon directly on a flatstone slab. small particles of crayon adhere to the granular texture of stone matrix
|
lithography
|
|
|
(silkscreen) screen of finely woven cloth is tightly strecthed on a frame. stencilling- may be hand-cut from film, painted with tusche or created with photosensitive emulsion
|
seriography
|
|
|
drawing or painting created with oil paint or watercolor on a nonabsorbant surface of any material brushes are used, but sometimes fine detail is rendered by scratching paint off the plate with sharp implements
|
monotype
|
|
|
signing prints
|
(in pencil) Title (medium), edition #, artist's signiture, imp. date
|
|
|
to write with light
|
photography
|
|
|
surface affected by light
|
photosensitivity
|
|
|
chalk, nitric acid, and silver mixed in a flask- darken when exposed to sunlight- Heinrich Schulze
|
photo-sensitive compound
|
|
|
Joseph Niepce-bitumen fused onto a pewiter plate, places into camera obscura and exposed to light creating a blurred image-first permanent image
|
heliography
|
|
|
1837- Lousi Daugerre creats images on silver-plated copper, coated with silver iodide and "developed" with warmed mercury
|
dauguerreotype
|
|
|
Henry Fox Talbot. creates permanent (negative) images usign paper soaked in silver chloride and fixed with a salt solution-calotype
|
negative
|
|
|
1880 first flexible roll firm
|
affordable photography
|
|
|
1907 first commercial color film
|
autochrome
|
|
|
amount of light allowed inside the camera
|
lens aperture
|
|
|
controls the amount of light allowed into the camera through the lens
|
diaphragm
|
|
|
first digital camera
|
1989
|
|
|
1861-1865 7000 negatives from Civil War
|
photojournalism
|
|
|
Harold Edgerton. uses flash bursts from a flash to produce a continuously moving subject into an overlapping sequence of frozen images
|
stroboscopic photography
|
|
|
motion pictures are created by stroboscopic photography
|
cinematography
|
|
|
Zhao Xiaomo
|
Family by the Lotus Pond
|
|
|
Rembrandt
|
Christ Crucified Between the Two Thieves
|
|
|
Alex Katz
|
Red Coat
|
|
|
Ansel Adams
|
Moon and Half-Dome, Yosemite National Park
|
|
|
Louis-Jacques-Mande Daguerre
|
The Artist's Studio
|
|
|
Dorothea Lange
|
Migrant Mother
|
|
|
Sandy Skoglund
|
Radioactive Cats
|
|
|
Eadweard Muybridge
|
Galloping Horse
|
|
|
Edgar Degas
|
The Little Dancer
|
|
|
Michelangelo
|
The Cross-Legged Captive
|
|
|
Louise Bourgeois
|
Eyes
|
|
|
Auguste Rodin
|
The Walking Man
|
|
|
Pablo Picasso
|
Mandolin and Clarinet
|
|
|
Claes Oldenburg
|
Soft Toilet
|
|
|
Robert Smithson
|
Spiral Jetty, Great Salt Lake, Utah
|
|
|
Richard Serra
|
Eight bent-steel Sculptures, Installation view
|
|
|
Buckminster Fuller
|
United States Pavilion, Expo 67, Montreal
|
|
|
Gustave Eiffel
|
Eiffel Tower, Paris
|
|
|
Gordon Bunshaft
|
Lever House, New York
|
|
|
Frank Lloyd Wright
|
Kaufmann House, (“Falling Water”)
|
|
|
Mangbetu
|
Portrait Bottle, Zaire
|
|
|
Henri Matisse
|
“Tree of Life, Interior of the Chapel of the Rosary, Venice
|
|
|
Roman, 3rd century
|
Portland Vase Womans Head
|
|
|
Ed Rossbach
|
Handgun
|
|
|
the art of carving, casting, modeling, or assembling materials into 3-D figures or forms
|
sculpture
|
|
|
similar to 2-D works in that their 3-D forms are raised from a flat background
|
relief sculptures
|
|
|
the forms project only slightly from the background
|
bas-relief
|
|
|
figures project by at least half their natural depth
|
high relief
|
|
|
have fronts, sides, backs, and tops
|
free-standing sculptures
|
|
|
unwanted material is removed
|
subtractive process
|
|
|
material is added, assembled, or built up to reach its final form
|
additive process
|
|
|
the sculptor begins with a block of material and cuts portions of it away until the desired form is created
|
carving
|
|
|
a pliable material such as clay or wax is shaped into a 3-D form
|
modeling
|
|
|
liquid material is poured into a mold, liquid hardens into the shape of the mold and is then removed
|
casting
|
|
|
original model is scuplted from clay. mold is made molten wax is brushed or poured into the mold to make a hollow wax model
|
lost-wax technique
|
|
|
wax rods
|
gates
|
|
|
fire resistant mold
|
investiture
|
|
|
treated chemically to take on the texture and color desired by the sculptor
|
burnished
|
|
|
forms are built from materials such as wood, paper, and string, sheet metal, and wire
|
constructed sculptor
|
|
|
extremely hard, durable material that may be carved, scraped, drilled, and polished
|
stone
|
|
|
may be carved, scraped, drilled, and polished but may also be permanently molded and bent
|
wood
|
|
|
more pliable that stone or wood
|
clay
|
|
|
used to prevent clay figures from sagging
|
armature
|
|
|
cast, extruded, forged, stamped, drilled, filed, and burnished
|
metal
|
|
|
metal sculptures by welding, riverting, and soldering
|
direct
|
|
|
artist builds or constructs the sculpture from materials such as cardboard, celluloid, translucent plastic, sheet metal, or wire, frequently creating forms that are lighter that those made from carving stone, modeling clay, or casting metal
|
constucted sculpture
|
|
|
pre-existing, or found, objects recognizable in form, are intergrated by the sculptor into novel combinations that take on a life and meaning of their own
|
assemblage
|
|
|
found objects
|
readymades
|
|
|
scultors use materials and ready-made or found objects that are not normally the elements of a work of art
|
mixed-media
|
|
|
actually move
|
kinetic sculpture
|
|
|
use artificial light in the composition
|
light sculpture
|
|
|
site-specific work that is created or marked by an artist within natural surroundings
|
land art
|
|
|
the art and science of designing buildings, bridges, and other structures to help us meet our personal and communial needs
|
stone architecture
|
|
|
2 stone slabs upright and a 3rd laying horizontal combination creates an opening beneath
|
arches
|
|
|
span distances. support other structures, serve as actual and symbolic gateways
|
vaults
|
|
|
an extended arch a tunnel or barrel vault simply places round arches behind one another until the desired depth is reached
|
groin vault
|
|
|
formed by barrel vaults at right angles, enclosing a square place called a "bay"
|
ribbed vaults
|
|
|
help carry the weight, creates a stone skeleton
|
pointed arches
|
|
|
can be constructed to uniform heights even if the sides of the enclosed spacce are unequal
|
flying buttress
|
|
|
a masonry strut that transmits the load of the roof vaulting to a pier outside the walls
|
domes
|
|
|
hemisperical forms that are rounded when viewed from beneath extensions of the principle of the arch and are capable of enclosing vast reaches of space. strong-stresses from the top of the dome are tansmitted in all directions to the points at which the circular base meets the foundation, walls, or other stuctures beneath
|
wood architechure
|
|
|
abundant renewable resource, light weight, capable of being worked on the site with readily portable hand tools. used as a stuctural element, facade, or both
|
balloon framing
|
|
|
studs are continuous, tied into floor joists; assembled on site
|
cast-irom architecture
|
|
|
first material to allow the erection of tall buildings with relatively slender walls. slender iron beams and bolted trusses are also capable of spanning vast interior spaces
|
steel-cage architecture
|
|
|
prefabricated I-beams have great tensile strength and resist bending in any direction. I-beams are riveted or welded together into skeletal forms called steel cages
|
rienforced concrete construction
|
|
|
the art or process of making objects of fired clay methods:pinch, coil, slab, thrown, cast
|
ceramics
|
|
|
contain finely ground minerals mixed with water. brushed, sprayed or poured on the ceramics after a preliminary bisque firing removes all water. 2nd firing-glaze firing. glaze becomes glasslike, vitrifies, fuses with the clay
|
glazing
|
|
|
red, tan, or white made from coarse clay fired at 1000-2000 F
|
earthenware
|
|
|
gray but may be tan/red. fired at 2300-2700 F. used for dinnerware and sculture
|
stoneware
|
|
|
hard, nonporous, usually white/gray made from fine white kaolin clay and other minerals. fired at 2400-2500 F. used for fine dinnerware
|
porcelain
|
|
|
generally made from silica sand mixed with minerals such as lead, copper, cobalt, cadmium, lime, soda, or potash, molten glass can be molded, pressed, rolled, blown, or spun into threads
|
glass
|
|
|
slender, threadline structures derived from animal, plant, or synthetic sources
|
fiber arts
|
|
|
weaving of fabricor cloth is accomplished by interfacing horizontal and vertical threads. lengthwise fibers called the warp
|
weaving
|
|
|
made with sweetgrass, pine, needles, palmetto. a well-crafted hand-woven basket has uniform splints, a tight weave, and a pleasing shape
|
basketry
|
|
|
an array of design disciplines touches us in our daily lives. good design raises our quality of life, even if we aren't consciously aware of it
|
design
|
|
|
refers to visual arts in which designs or patterns are made for commercial purposes
|
graphic design
|
|
|
visual identifier for an organization
|
logotype
|
|
|
the design of type for printing
|
typography
|
|
|
must catch consumer's eye. must also communicate something about the nature and quality of the contents
|
package design
|
|
|
the French artist Henri de Toulouse-Lautrec married image and typography
|
early posters
|
|
|
the planning and artistis enhancement of all kinds
|
industrial design
|
|
|
city planning
|
urban design
|
