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;
57 Cards in this Set
- Front
- Back
|
accent color
|
a color that stands out from its surroundings. Often used to attract attention to a specific part of a design
|
|
|
achromatic color
|
a color (such as black and white) that has no hue
|
|
|
additive color
|
color created by combining projected beams of chromatic light. The additive color primaries are red, green, and blue and the secondaries are cyan, magenta, and yellow
|
|
|
afterimage
|
in color theory, a ghostly image that continues to linger after the actual image has been removed
|
|
|
amplified perspective
|
the exaggerated use of linear perspective to achieve a dramatic and engaging presentation of the subject. Amplified perspective is often created using an unusual viewing position, such as a bird's eye view, accelerated convergence, or some form of distortion.
|
|
|
analogous color
|
a color scheme based on hues that are adjacent on a color wheel, such as red, red-orange, and orange
|
|
|
atmospheric perspective
|
a visual phenomenon in which the atmospheric density progressively increases, hazing over the perceived world as one looks into its depth. Overall definition lessens, details fade, contrasts become muted and, in a landscape, a blue mist descends.
|
|
|
Bezold effect
|
a change in a single color that substantially alters our perception of the entire composition
|
|
|
brainstorming
|
any of a number of problem-solving techniques that are designed to expand ideas and encourage creativity. List making, mapping, associative thinking, and metaphorical thinking are common strategies used
|
|
|
camera angle
|
the angle at which an object or event is viewed. An aerial view can provide the sweeping panorama needed to convey the enormity of a battle, while a low camera angle can provide an expansive view of the sky
|
|
|
chroma
|
the purity, intensity, or saturation of a color
|
|
|
chromatic gray
|
a gray made from a mixture of various hues, rather than a simple blend of black and white
|
|
|
color harmony
|
use of compatible colors to help unify a composition
|
|
|
color interaction
|
the way colors within a composition influence one another
|
|
|
color key
|
a color that dominates an image and heightens its psychological and compositional impact
|
|
|
color overtone
|
a secondary hue "bias" in a primary color. For example, alizarin crimson is a red with violet overtones, while scarlet is a red with orange overtones
|
|
|
color theory
|
the art and science of color interaction and effects
|
|
|
complementary color
|
hues that oppose one another on a color wheel. When paired in a composition, they create contrast; when mixed they produce a wide range of browns
|
|
|
composition
|
the combination of multiple parts into a unified or harmonious whole
|
|
|
cone of vision
|
in perspective drawing, a hypothetical cone of perception originating at the eye of the artist and expanding outward to include whatever he or she wishes to record in an illusionistic image, such as a perspective drawing.
|
|
|
convergent thinking
|
a problem-solving strategy in which a predetermined goal is pursued in a linear progression using a highly focused problem0solving process. Six steps are commonly used: 1. define the problem, 2. do research, 3. determine your objective, 4. devise a strategy, 5. execute the strategy, 6. evaluate the results
|
|
|
disharmony
|
combination of colors that clash with each other and appear to be jumping out of the picture
|
|
|
divergent thinking
|
an open-ended problem-solving strategy. Starting with a broad theme, the artist or designer expands ideas in all directions
|
|
|
dynamic space
|
compositional organization that emphasizes movement or the illusion of movement
|
|
|
earth colors
|
colors made primarily from pigments in soil, and include raw sienna, burnt sienna, raw and burnt umber, and yellow ochre
|
|
|
eye level or eye line
|
in linear perspective, the eye level is determined by the physical position of the artist. Sitting on the floor creates a low eye level while standing at an easel creates a higher eye level. Also known as the horizon line. All vanishing points in one and two point perspective are positioned on the eye level
|
|
|
fractured space
|
discontinuous space that is created when multiple viewpoints are combined within a single image
|
|
|
hue
|
the name of a color (such as red or yellow) that distinguishes it from others and assigns it a position in the visual spectrum
|
|
|
intensity
|
1. the purity, saturation, or chroma of a color. For example, fire engine red is a high intensity color, while brick red is a low intensity color. 2. in time design, the power, concentration, and energy with which an action is performed or the quality of observation of an event
|
|
|
joint
|
a physical connection between elements or parts in a 3D object. Some joints are fixed, such as ones that are bolted together, while others can be moved, as with a hinge or a ball-and-socket joint
|
|
|
kinesthetics
|
the science of movement
|
|
|
layered space
|
compositional space that has been deliberately separated into foreground, middle ground, and background
|
|
|
linear perspective
|
a mathematical system for projecting the apparent dimensions of a 3 object onto a flat surface.
|
|
|
maquette
|
a well-developed 3D sketch, comparable to a 2D thumbnail sketch
|
|
|
model
|
in three-dimensional design, a technical experiment or a small-scale version of a larger design.
|
|
|
monochromatic color scheme
|
a color scheme based on variations in a single hue.
|
|
|
one-point perspective
|
a form of linear perspective in which the lines receding into space converge at a single vanishing point of the eye level or horizon line
|
|
|
opponent theory
|
an explanation for the electric glow that occurs when two complementary colors are placed side by side
|
|
|
picture plane
|
in linear perspective, the flat surface on which a 3D image is mentally projected
|
|
|
primary colors
|
colors from which virtually all other colors can be mixed. The additive (or light) color primaries are red, green, and blue. The subtractive (or pigment) color primaries are yellow, magenta, red, and cyan blue
|
|
|
process colors
|
in four-color process printing, refers to the subtractive primary colors: yellow, magenta, and cyan, plus black
|
|
|
prototype
|
a well-eveloped model, as with the fully functional prototype cars developed by automobile companies
|
|
|
saturation
|
the purity, chroma, or intensity of a color
|
|
|
secondary colors
|
hues mixed from adjacent primaries in paint, the secondary colors are violet, green, and orange
|
|
|
shade
|
a hue that has been mixed with black
|
|
|
simultaneous contrast
|
the optical alteration of a color by a surrounding color
|
|
|
split complementary
|
a complementary color plus the two colors on either side of its complement on the color wheel
|
|
|
subtractive color
|
hue created when light is selectively reflected off a colored surface
|
|
|
temperature
|
the physical and psychological heat suggested by a color's hue
|
|
|
tertiary color
|
a hue that is mixed from a primary color and an adjacent secondary color
|
|
|
three point perspective
|
a form of linear perspective in which the lines receding into space converge at two vanishing points of the eye level (one to the left of the object being drawn and one to the right of the object being drawn) plus a third above or below the eye level. Used when the picture plane must be tilted to encompass an object placed above or below the eye level
|
|
|
tint
|
a hue that has been mixed with white
|
|
|
tone
|
a hue that has been mixed with black and white
|
|
|
triadic harmony
|
a color scheme based on three colors that are equidistant on a color wheel
|
|
|
two point perspective
|
a form of linear perspective in which the lines receding into space converge at two vanishing points of the eye level, one to the left of the object being drawn and one to the right of the object being drawn
|
|
|
value
|
the relative lightness or darkness of a surface
|
|
|
vanishing point
|
in linear perspective, the point or points on the eye line at which parallel lines appear to converge
|
