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;
40 Cards in this Set
- Front
- Back
|
Primary colors
|
red, blue, yellow
|
|
|
Secondary colors
|
orange, green, purple
|
|
|
Tertiary colors
|
mixing one primary color with one secondary color or two secondary colors.
ex. amber=yellow/orange) vermilion/cinnabar=red/orange magenta= red/purple violet= blue/purple viridian= blue, green chartreuse= yellow/green |
|
|
analogous colors
|
colors next to one another (adjacent)
|
|
|
complimentary colors
|
colors across from one another
RED/GREEN PURPLE/YELLOW BLUE/ORANGE |
|
|
warm vs. cool colors
|
colors/hues
reds vs. blues |
|
|
value of color
|
When we describe a color as "light" or "dark", we are discussing its value or "brightness"
For instance, canary yellow would be considered lighter than navy blue which in turn is lighter than black. Therefore, the value of canary yellow is higher than navy blue and black |
|
|
Saturation
|
pale, weak, pure, strong
Over the course of the day, although the color is the same, the saturation changes color can also be called intensity |
|
|
Local color
|
real true, actual color of an object (imagine an orange)
|
|
|
perceptual
|
colors we perceive due to color we perceive due to shadows or light, or atmospheric colors (if its foggy) changing the colors for the feel or abstract pieces
|
|
|
LIGHT
modeling |
creates depth. contrast between light and shadow
|
|
|
LIGHT
Shape vs. Form |
2 dimentional SHAPE vs. 3 dimensional FORM with depth, receeds or swells
|
|
|
LINE
Geometric |
sharpe angles-triangles
|
|
|
LINE
curvilinear |
circles
|
|
|
LINE
vertical |
up and down
|
|
|
LINE
horizontal |
side to side
|
|
|
LINE
diagnol |
tilted on the axis, slant
|
|
|
LINE
thick/thin |
line width
|
|
|
LINE
modulation |
both thick and thin lines
|
|
|
LINE
Contour line |
outline, emphasizing form
|
|
|
LINE
implied |
ex. The Raft of the medusa (diagnol line along light) Viewers eye “creating line” or imagining line going further than we see
|
|
|
LINE
eyeline |
she’s looking down so you look down Arcadia
|
|
|
LINE
linear vs. Painterly |
precise detailed tiny brush stroke, line vs. hurried/dramatic can see the actual brush stroke
|
|
|
COMPOSITION
BALANCE/SYMMETRY |
equal amount of space/form on both sides
evenly balanced composition (ex. house/house) does not have to be exact |
|
|
COMPOSITION
Focal Point |
Edward Hopper night hawks- focal point in diner on people (lighting & activity)
|
|
|
COMPOSITION
Unity (Proximity, Repetition, Similarity) |
looking at one whole of the composition not any specific points
|
|
|
COMPOSITION
Closed composition |
Madonna del prato all figures encompassed and close together (if we took out color) it would be one form of a triangle-one unified figure in triangular shape (only separated by shadow)
|
|
|
COMPOSITION
OPEN composition |
open feel. Degas The Rehearsal Onstage have separation between different figures on the stage
|
|
|
COMPOSITION
narrative |
telling a story a story implied or we can come up with our own story
|
|
|
COMPOSITION
nonnarrative |
no meaning in line, shape, color…abstract not recognizable
|
|
|
SPACE
Overlapping: |
objects appear in front of other objects (appear closer)
|
|
|
SPACE
Vertical Location |
objects higher or lower appear further away or closer (not because they are smaller or larger)
Self portrait with masks looks farther away because he is placed higher on the picture plane. Not because his face is smaller. |
|
|
SPACE
Diminution of Scale |
change in size.
|
|
|
SPACE
Flat Space |
Jazz Icarus
flat, no depth, on the surface |
|
|
SPACE
Shallow Space |
The kitchen maid
some depth (but walls prevent us from seeing behind it) |
|
|
SPACE
Deep Space |
The return of the hunters
extends for a long time, lots of depth, may show diminution of scale |
|
|
SPACE
Positive Space vs. Negative Space |
Karsushika Hokusai The great wave at Kanagawa
Waves= positive space and sky= negative space |
|
|
TEXTURE
Actual/ Surface Texture |
Cypresses can see individual brush strokes (grooves and ridges if felt)
|
|
|
TEXTURE
Implied/Simulated Texture |
Self Portrait in a Fur Cloak if we touched it it would feel smooth but if we imagined touching it we would think it fur would be
|
|
|
Media
How and with which materials was the image made? |
Graphite pencil, charcoal, pastel, pen and ink, brush and ink, paint: tempura/oil/watercolor/gouache, Print: woodcut/intaglio/lithograph, Collage, Mosaic, Tapestry, Photography, Film
|
