Drawing Final

Front 1

hands

Back 1

durer

Front 2

skin peeled back

Back 2

davinci

Front 3

muscular

Back 3

angelo

Front 4

death

Back 4

kollwitz

Front 5

elements of art

Back 5

line, shape, form, value, texture, color, space

Front 6

principles of design

Back 6

balance, emphasis, movement, proportion, rhythm, unity, variety

Front 7

composition

Back 7

the arrangement of elements in teh format

Front 8

contour

Back 8

the edges of an object or person

Front 9

single line contour

Back 9

one line drawn to represent the edges of an object or person

Front 10

single line bling contour

Back 10

one line drawn without looking at teh paper to represent the edges of an object or person

Front 11

positive form

Back 11

a solid object or person; a three dimensional object

Front 12

negative shape

Back 12

the spaces located around a positive form

Front 13

pattern

Back 13

a repeated elemendt of art or repeated design

Front 14

rhythm

Back 14

the movement created by repetition of elements
singular - 1
alternating - 2 or more
progressive - big to small or light to dark.

Front 15

construction line

Back 15

a line used to locate edges, features, or angles of an object or person. they help to show where other lines should be drawn.

Front 16

cross contour

Back 16

lines drawn that represent the direction or curve of the surface on an object or person.

Front 17

sighting

Back 17

the use of a pencil or other small straight edge, held in hand with arem extended and one eye closed, in order to find angles and locations of objects and features

Front 18

still life

Back 18

an arrangement of objects on a table o other surface, usually indoors and typicaly flowers or food items

Front 19

value

Back 19

the lightness or darkness of something

Front 20

shading

Back 20

mkaing a drawing darker

Front 21

texture

Back 21

the qulality of teh surface

Front 22

hatch lines

Back 22

short lines that run parallel to each other to show value or direction

Front 23

cross hatch

Back 23

short lines that bisect each to show value

Front 24

blending

Back 24

the smooth applicaiton ofvalue done with the tip of the pencil turned at a slight angle

Front 25

viewfinder

Back 25

a small recangular frame for an atist to lok through that aids in finding an interesting composition

Front 26

reflected light

Back 26

light boundicng off one surface into teh shadow area of another surface

Front 27

proportion

Back 27

the exactness of positioning and size

Front 28

frontal view

Back 28

in portrait drawing the face seen from teh front providing symmetrical balance to teh head.

Front 29

three quarter view

Back 29

in portrait drawing teh head seen roughly from a 45 degree angle form the center

Front 30

profile

Back 30

in portrait drawing the side view of teh head.

Front 31

ingres, jean auguste dominique

Back 31

french artist and skilled painter of the neoclassical period considered to be one of the greatest draftsman in te history of western art.

Front 32

da vinci, leonardo

Back 32

italian renaissance draftsman painter and inventor. considered one of the great masters fo the figure and portraiture in western art.

Front 33

neoclassical

Back 33

an art historical period ranging from teh late 18th to mid 19th century where artists evoked the styles and goals of he ancient greeks and romans and the renaissance. particular atention was paid to exactness of drawing, often referred to now as academic style.

Front 34

chalk pastels

Back 34

soft multi colored media that can be applied ot paper or canvas

Front 35

tones

Back 35

values; generally teh amount of lightness or darkness in a color

Front 36

gesture

Back 36

quickly done drawing usually under three inutes in order to capture teh major movement fo teh figure bein drawn.

Front 37

scribble line gesture

Back 37

evenly weighted line; looks like wadded up string

Front 38

pull line gesture

Back 38

evenly weighted ling lines; looks like stick figures

Front 39

calligraphic gesture

Back 39

line weight varies from thick to thin and squigles

Front 40

mass gesture

Back 40

no line, just areas of liught and dark

Front 41

extended gesture

Back 41

a gesture drawing done for a longer period of time that eventually becomes a more modeled drawing

Front 42

modeled drawing

Back 42

a drawing showing three dimensionl form, generally with value

Front 43

blind contour

Back 43

slowly done drawing without looking at teh paper, focusing only on teh subject and its edges and shapes

Front 44

construction line

Back 44

a line used to locate edges features or angles of an object or person they help to show where other lines should be drawn.

Front 45

georges braque

Back 45

french cubist artist who along with picasso developed cubism around 1907 through 1915. only did cubism

Front 46

pablo picasso

Back 46

spanich cubist artist and mater of many other styles considered to be teh greatest artist of teh 20th centure. 1st to use collage

Front 47

collage

Back 47

an artisitc compostition made of various materials

Front 48

figurative abstraction

Back 48

objects and people depicted in a distorted or unrealistic manner

Front 49

fractured form

Back 49

showing only part or a section of an object or person

Front 50

mixed media

Back 50

using more than one type of drawing or painting material

Front 51

mulitple viewpoint

Back 51

dawing an object/person from more than one position

Front 52

simultaneity

Back 52

in drawing and painting, showing several sides of an object or person at the same time to create a new image.

Front 53

analytical cubism

Back 53

the first phase of cubism began in 1906-1907 by pablo picasso and georges vraque tha combined multiple viewpoint, fractured form, and simultaneity in a composition to create teh illustion fo teh fourth dimension

Front 54

synthetic cubism

Back 54

the second phase of cubism began in 1912 tha incorporated collage along with analyticla cubism thus creating images with decorative patterning and more flattened spaces

Front 55

extended line

Back 55

continuing a line off teh edgoe of a form

Front 56

shadowing

Back 56

drawing a line tha runs parallel to a form

Front 57

horizon line

Back 57

the edge where teh earth and sky meet

Front 58

vanishing point

Back 58

in linear perspective the piont on teh horizon line where lines converge to create the illusinon of depth in space

Front 59

linear

Back 59

made of lines or having line qulaities

Front 60

one point perspective

Back 60

teh technique of using a single vanishing point in linear perspective to create the illusion of depth on a flat surface. teh rule: all lines that are not horizontal or veritcal converge to teh vanishing point

Front 61

multiple viewpoint

Back 61

drawing an object/person from more than one position

Front 62

simultaneity

Back 62

in drawin and painting, showing several sides of an object or person at teh same time to create a new image.

Front 63

analytical cubism

Back 63

the first phase of cubism began in 1906-1907 by pablo picasso and georges braque that combined multiple viewpoint, fractured form, and simultaneity in a composition to create the illusion of the fourth dimension

Front 64

synthetic cubism

Back 64

teh second phase of cubism begun in 1912 that incorporated collage along with analytical cubism, thus creating images with a decoratiave patterning and more flattened spaces.

Front 65

extended line

Back 65

continuing a line off the edge of a form

Front 66

shadowing

Back 66

drawing a line that rns parallel to a form

Front 67

horizon line

Back 67

the edge where teh earth meets the sky

Front 68

vanishing point

Back 68

in linear perspective teh point on te horizon line where lines converge to create the illusion of depth in space

Front 69

linear

Back 69

made of lines or having line qualities

Front 70

one poin perspective

Back 70

teh technique of using a single vanishing point in linear perspective to create the illusion of depth on a flat surface the rule: all lines that are not horizontal or veritcal converge to teh vanishing point

Front 71

overlapping

Back 71

when one object covers part of another

Front 72

size

Back 72

in terms of perspective, teh closer an object is the larger it will be

Front 73

placement

Back 73

in terms of perspective, objects that are either high or low on the picture plane seem to be closer to you

Front 74

detail

Back 74

in terms of perspective, objects that have sharp clear edges adn crisp lines seem to be closer to you

Front 75

backgound

Back 75

things furthest away on teh picture plane

Front 76

foreground

Back 76

things closest to the viewer on the picture plane

Front 77

middle ground

Back 77

thingls located between the backgound and the foreground

Front 78

two point perspective

Back 78

the technique o fusing two vanishing points in linear perspective to create the illusion of depth on a flat surface. the rule: all lines that are not vertical converge to one of the two vanishing points

Front 79

renaissance

Back 79

time period from the late 1400's through the late 150's where the visual arts began to make use of exactness in drawing, oil paint, and linear perspective. artist inclue: leonardo, michaelangelo, raphael, and durer