Concept Art Midterm 1

Front 1

Foreshortening

Back 1

The optical illusion linked to perspective that makes distant objects look smaller in relation to closer objects.

Front 2

Value scale

Back 2

Value scale is a gray scale comprising of a series of spaces filled with various shades of a color; near the top for darker values, delicate further up grip for light marks.

Front 3

Drawing materials and erasers

Back 3

Pencil on paper helps achieve fundamentals of drawing: position, direction and pressure.

Front 4

Linear perspective: 1 point perspective

Back 4

The object is being viewed face on (one vanishing point)

Front 5

Linear perspective: 2-point perspective.

Back 5

The object is being viewed from an angle, like the side (or corner/two vanishing points)

Front 6

Linear perspective: 3-point perspective

Back 6

Looking up or down at a very large object. (3 vanishing points)

Front 7

Horizon line

Back 7

Represents the viewers eye level, changes within the picture depending on the vantage point of the viewers.

Front 8

Vanishing point

Back 8

A point on the horizon line to which parallel lines converge (or meet at).

Front 9

Pencil measuring

Back 9

Measuring using the space between your thumb marking and the tip of your pencil

Front 10

Squinting

Back 10

Reduces visual complexity; largest fragmneted details into similar shapes if light and shadow.

Front 11

Measuring unit

Back 11

Establishing a unit that can be used to measure elements in your drawing (horizontal and vertical lines)

Front 12

Triangulation

Back 12

Cross referencing each imaginary point of your subject against two or more points.

Front 13

Negative and Positive Space

Back 13

Negative: The empty space around your drawing (most relliable tool for accuracy)

Positive: the object itself that is within that space (the drawing and its detail; fairly tricky...)

Front 14

Anchor point

Back 14

The center of interest or something that has a strong simple shape; point of reference against which to judge the placement and proportions of all subsequent elements.

Front 15

Circles in perspective

Back 15

Similar in process as to creating box forms using a horizon line, frame, vanishing point, and a base for what could be a box.

Front 16

Cast shadow

Back 16

Help communicate spatial relationships between objects and provides a strong sense of depth. (Strongest value on a five value scale)

Front 17

Five value scale

Back 17

From right to left: white/light, highlight, middle values, core shadow, cast shadow.

Front 18

Core shadow

Back 18

The darkest value of the form (also known as terminator)

Front 19

Highlight

Back 19

Second to lightest of a form on the five value scale

Front 20

Bounced/Reflected light

Back 20

Light values that allow for an illusion of a form to turn in space (without it, an image appears much flatter)

Front 21

Light bloom

Back 21

Reducing details in highlights to give a stronger sense of light (used in computer graphics).

Front 22

Atmospheric perspective

Back 22

The illusion of depth by using water vapor in the air, which diminishes the level of contrast and blurs forms with distance.

Front 23

Foreground

Back 23

Features strongest contrasts, sharpest edges, and the most details.

Front 24

Middle ground

Back 24

A little less detail and contrast than the foreground.

Front 25

Background

Back 25

Lighter, softer, and relatively void of detail. You start with the background and work toward the foreground in landscapes.

Front 26

Antigravity muscles

Back 26

Like metal springs, maintaining tension between body parts starting at the heal and going up through opposing curves (front and back) to create forces to keep the body from collapsing against gravity.

Front 27

Contrapposto

Back 27

Counter balancing mechanism; one side of the body compresses as the other side expands (most energy is concentrated on this side).

Front 28

Skeletal landmarks

Back 28

Points on the surface of the skin where the underlying bone is nearest the surface; reliable indicators for the exact position of the skeleton because they are visible on all body types.

Front 29

Opposing curves

Back 29

Used to create an illusion of movement by offering viewers a visual path to follow through an image (element of interpretation is necessary, there is no real lines in the figure).

Front 30

Massing

Back 30

Process of conceptualizing an element of anatomy using a simple volume or combination of volumes to create a coherent whole (always establish large forms before details).

Front 31

Femur

Back 31

The bone located in the thigh.

Front 32

Fibula

Back 32

The fibula is the long, thin and lateral bone of the lower leg. It runs parallel to the tibia, or shin bone, and plays a significant role in stabilizing the ankle and supporting the muscles of the lower leg

Front 33

Tibia

Back 33

The tibia is a large bone located in the lower front portion of the leg. The tibia is also known as the shinbone, and is the second largest bone in the body.

Front 34

Ribcage

Back 34

Basic shape is egg-like and the largest mass of the body and most important. Artists are more concerned with the volume that best describes the overall form of the rib cage rather than anatomical accuracy

Front 35

Spine

Back 35

Supports the weight of the rib cage and connects it to the pelvis and the head. (Form of an S curve)

Front 36

Sternum

Back 36

Skeletal landmark that defines the central line of the rib cage, as well as the inverted v-shape at the opening of the ribcage.

Front 37

Clavicles

Back 37

The bones attached to the sternum and attached to the acromion process (the shoulders).

Front 38

Humerus

Back 38

The bone of the upper arm

Front 39

Radius

Back 39

A bone in the forearm. Can be parallel or crossed over in an x-shape to the ulna based on the position of the hand (facing down/backward for the x-shape, or facing up to be parallel.)

Front 40

Ulna

Back 40

The bone parallel or crossed with based on the hands position. A bone in the forearm.

Front 41

Skeletal landmarks for the Head and Neck

Back 41

The frontal plane of the head can be devided into thirds using the hairline, brown, nose, and chin as landmarks. The ear is behind the center line of the head and the sternamastoid muscle emerged from behind the ear and wraps around the cylinder of the neck and attaches to the inside edge of the clavicles.