Quiz 1 Review For Art Appreciation

Front 1

Horizontal

Back 1

_______________________

From left to right

Front 2

Vertical

Back 2

|

|

|

|

Up and Down

Front 3

Diagonal

Back 3

/

Between Horizontal and Vertical

Front 4

Angular

Back 4

|

\

Having Angles

Front 5

Curvilinear

Back 5

Not conforming to any particular direction (lots of curves)

Front 6

Actual(Lines)

Back 6

_______________________

A complete line

Front 7

Implied(Lines)

Back 7

_ _ _ _ _ _ _ _ _ _ _ _ _ _

Missing areas that the viewer is meant to accept as a line

Front 8

Contour

Back 8

The outline of a shape

Front 9

Stable

Back 9

The dominant use of horizontal lines and/or vertical lines to give the impression of "at rest" or "not likely to move"

Front 10

Dynamic

Back 10

The dominant use of diagonal, angular, and/or curvilinear lines to show movement or changing

Front 11

Direction

Back 11

Two meanings,

1. A course along which someone or something moves.

2. Making a viewers eye move from one element to another.

Front 12

Implied Motion

Back 12

Direction of the viewer's eye using lines, gestures, and glances within the piece. Gives of the illusion of somthing moving.

Front 13

Geometric

Back 13

Shapes with names (ie. square, circle) that can be man-made or natural

Front 14

Organic

Back 14

A shape that is 'drawn from nature' and is not geometric. However, it can be man-made

Front 15

Actual(Shape)

Back 15

Real shapes that can be easily made out using lines and color.

Front 16

Implied(Shape)

Back 16

These are the spaces between objects that are placed in relationship to each other. We see those spaces as shapes, even though they are not meant to be.

Front 17

Negative Space

Back 17

Voids within an artwork. Negative space is literally nothing -- blank space in a two-dimensional piece, or open air in a sculpture.

Front 18

Primary Colour

Back 18

RYB

Red Yellow Blue

Front 19

Secondary Colour

Back 19

Colours made by mixing primary colour

Orange, Green, Violet

Front 20

Neutral

Back 20

Black, Gray, White

Front 21

Warm

Back 21

Red, Orange, Yellow

Intense colors that seem to emanate from the artwork's surface.

Front 22

Cool

Back 22

Blue, Green, Violet

Colors that appear to recede on the picture plane.

Front 23

Complementary

Back 23

Hues that are located directly opposite each other on the color wheel. For example, red and green are complementary.

*These colors also seem to be at their most vividness next to each other ie. Red looks more red next to green than red looks next to orange

Front 24

Analogous

Back 24

Colors (hues) that are placed next to one another on the color wheel. For example, blue and green are analogous.

Front 25

Monochromatic

Back 25

An artwork that contains the hue, tints, and shades of only one color.

Front 26

Saturation

Back 26

The intensity or brightness of a color.

Front 27

Tint

Back 27

The addition of white to a hue.

Front 28

Shade

Back 28

The addition of black to a hue.

Front 29

Pointillism

Back 29

An art movement in Europe in the late nineteenth century in which artists applied daubs of pure pigment to a ground to create an image. The paint daubs appear to blend when viewed from a distance.

Front 30

High (Value)

Back 30

The light and bright areas in an art work are considered the high-value areas

Front 31

Low (Value)

Back 31

The shaded and dark areas in an art work are considered the low-value areas

Front 32

Actual/tactile (Texture)

Back 32

Connected with a sense of touch ie. a smooth surface or sandpaper

Front 33

Implied (Texture)

Back 33

The illusion of texture created by the artist in paint or drawing, which cannot be perceived by the sense of touch, as opposed to actual texture.

Front 34

Subversive (Texture)

Back 34

Something with texture that appears wrong or abnormal. ie. a furry spoon or concrete bedding

Front 35

Overlapping

Back 35

Showing depth by putting objects in front of one another

Front 36

Diminution of scale

Back 36

A two-dimensional perspective technique in which objects appear smaller as the recede in the distance.

Front 37

Atmospheric Perspective

Back 37

The blurring of forms, colors, and values as they recede into the background. This is sometimes referred to as atmospheric perspective, as receding forms in space take on the colors and tones of the natural atmosphere. Also called aerial perspective.

Front 38

Isometric Perspective

Back 38

A perspective system for rendering a three-dimensional object on a two-dimensional surface by drawing all horizontal edges at a 30-degree angle from a horizontal base. All the verticals are drawn perpendicularly from the horizontal base.

Front 39

Linear Perspective

Back 39

A system of rendering the illusion of three-dimensional depth on a flat, two-dimensional surface.

Front 40

Foreshortening

Back 40

In a two dimensional artwork, creating a sense of space by enlarging areas of an object that are close to the viewer, and shrinking the parts that are farther away.

Front 41

Continuous Narrative

Back 41

A method for depicting a complete narrative in one artwork; the same character(s) may be shown more than once in a single painting or frieze. Examples of continuous narrative include the Column of Trajan in Rome, the Bayeux Tapestry, and the frescoes on the Dura Europos Synagogue.

Front 42

Implied Motion

Back 42

Think of a dog wagging its tail or a ball dropping, but in a painting or drawing. It's not actually moving, but you get the idea that it was the intention of the artist.

Front 43

Kinetic Art

Back 43

Something that is physically and literally moving. Like a sculpture that is swinging or has moving parts

Front 44

Performance

Back 44

Ballet or theatre Visual art + dramatic performance

Front 45

Unity

Back 45

A quality achieved in an artwork when the artist organizes all the compositional elements so that they visually work together as a whole. Similar to harmony.

Front 46

Variety

Back 46

Opposing or contrasting visual elements in a composition that add interest without disturbing its unity.

Front 47

Balance

Back 47

Visual equilibrium in a composition; achieved by organizing the weight and attention of all elements in an artwork. Types of balance are symmetrical, asymmetrical, and radial.

Front 48

Asymmetrical balance

Back 48

Balance that is achieved in a composition by arranging dissimilar elements so that they exist in groupings of equal visual weight and attention. Sometimes referred to just as balance.

Front 49

Symmetry

Back 49

Balance achieved by distributing equal weight evenly throughout a composition. If an imaginary line could be drawn vertically down an artwork that has symmetrical balance, one side would mirror the other.

Front 50

Radial Symmetry

Back 50

Visual equilibrium achieved when all the elements in a composition radiate outward from a central point.

Front 51

Scale

Back 51

The apparent size of an object or image that is measured by comparing it to other objects and images that are recognized as being normal sized.

Front 52

Hierarchical Scale

Back 52

A system of proportion of figures or subject matter in a work of art that gives emphasis to what or who is considered to be the most important; for example, the largest figure would be the most important or highest in rank

Front 53

Proportion

Back 53

The size relationship, or relative size, of parts of objects or imagery to a whole or to each other.

Front 54

Canons of proportion

Back 54

Units or standards that are used to gain proportions. Think about the Greek sculptors measuring the body with the Golden Mean so everything is in proportion with an actual human. Or the Egyptians with the 18 units to divide the body.

Front 55

The Golden Mean >:c

Back 55

A unique ratio of a line divided into 2 parts so that (a) + (b) is to (a) as (a) is to (b). The result is 1:1.618

Front 56

Emphasis

Back 56

A device in art that draws the attention of the viewer to one or more focal points in an artwork.

Front 57

Focal point

Back 57

Main area of visual concentration in an artwork

Front 58

Line (Focal point)

Back 58

Lines can be used to direct the viewer's attention down a line and at the focal point

Front 59

Gesture(Focal Point)

Back 59

Gestures can be used to guide a viewer's eye towards a focal point

Front 60

Glance(Focal Point)

Back 60

Glances can be used to guide a viewer's eye towards a focal point. This about a crowd of people starting at one person in an artwork

Front 61

Size

Back 61

the relative extent of something; a thing's overall dimensions or magnitude; how big something is.

Bigger objects receive more attention than smaller objects.

Front 62

Placement

Back 62

the action of putting someone or something in a particular place or the fact of being placed. The use of this is to put more emphasis on things.

Front 63

Contrast

Back 63

A drastic difference between such elements as color or value (Lightness/Darkness)

Front 64

Isolation

Back 64

the action of putting someone or something in a particular place or the fact of being placed.

Artists use this to put emphasis on the object that is isolated

Front 65

Accents

Back 65

Special attention given to any element of a composition in order to attract the viewer’s eye to it. This may be done by giving an element a brighter color, isolating it, or enlarging it in order to accent it. Any visual device may be used in an accent.

Front 66

Media

Back 66

Plural form of media or different types of mediums

Front 67

Drawing

Back 67

a picture or diagram made with a pencil, pen, or crayon rather than paint, especially one drawn in monochrome

Front 68

Dry Media

Back 68

In drawing, dry media can include pencils, charcoal, and silverpoint.

Front 69

Wet Media

Back 69

In drawing, wet media can include ink and markers.

Front 70

Contour Drawing

Back 70

Focusing on the outline of an object more than the object itself

Front 71

Painting

Back 71

the process or art of using paint, in a picture, as a protective coating, or as decoration.

Front 72

Pigment

Back 72

Colors in powder form, mixed with binders to create paint.

Front 73

Binder

Back 73

A liquid, gel, or wax that holds pigment particles together and dries to create a paint layer.

Front 74

Encaustic

Back 74

A paint medium in which pigments are mixed into heated beeswax.

Front 75

Tempera

Back 75

Paint created by grinding dry pigment into egg yolk, which is the binder.

Front 76

Fresco

Back 76

A painting made on plaster; in true fresco, water-based pigments are painted directly on a wet lime plaster ground and bind with the plaster when dry; in dry fresco, the paint is applied to dry plaster.

Front 77

Buon Fresco

Back 77

True Fresco

Front 78

Fresco Secco

Back 78

Dry fresco; a form of painting in which paint is applied to a dry plaster wall.

Front 79

Oil

Back 79

A painting medium in which powdered pigments are ground into a slow-drying oil (usually linseed).

Front 80

Acrylic

Back 80

A water-soluble, permanent synthetic paint that was developed in the 1950s.

Front 81

Watercolor & Gouache

Back 81

Pigments suspended in a water-soluble glue and applied to paper in transparent layers.

Front 82

Spray Paint

Back 82

paint (an image or message) onto a surface with a spray. Can be airblown too.

Front 83

Printmaking

Back 83

The process of making multiple artworks or impressions, usually on paper, using a printing plate, woodblock, stone, or stencil.

Front 84

Relief

Back 84

Sculpture that projects from or is carved into a flat surface. When the sculptural form is at least half round or more, it is called a high relief; when it is less, it is called a low or bas relief.

Front 85

Woodblock

Back 85

A relief print process where the image is carved into a block of wood

Front 86

Intaglio

Back 86

A printmaking process in which lines are incised or etched into a metal plate, which is then inked and wiped so that the ink remains only in the incised lines and then transferred to paper. Pronounced "in-TALL-lee-o."

Front 87

Engraving

Back 87

The process of incising or scratching lines on a hard material, such as wood or a metal plate.

Front 88

Drypoint

Back 88

An etching, which is a kind of printmaking, in which the design is scratched into the surface of a metal plate.

Front 89

Etching

Back 89

The creation of lines or areas on glass or a metal plate, using acid that eats into the exposed surface but leaves coated, protected areas unchanged. When etched plates are inked, they can be used in printmaking.

Front 90

Aquatint

Back 90

A printmaking process related to etching in which the metal plate is covered with a powder of acid-resistant resin to create a tonal area.

Front 91

Mezzotint

Back 91

a print made from an engraved copper or steel plate on which the surface has been partially roughened, for shading, and partially scraped smooth, giving light areas. The technique was much used in the 17th, 18th, and early 19th centuries for the reproduction of paintings

Front 92

Planography

Back 92

A print process-- lithography and silkscreen printing -- where the inked image area and non-inked areas are the same height

Front 93

Lithography

Back 93

A form of printmaking, invented in the nineteenth century, based on the principle that water and oil do not mix. Traditional lithography uses a stone matrix.

Front 94

Silkscreen

Back 94

A variation on regular screen printing, in which photographs are used with special chemicals to block areas of ink, resulting in an image.

Front 95

Matrix

Back 95

In printmaking, the surface from which a print is produced. This can include a wood block, stone, or metal sheet.

Front 96

Editions

Back 96

A number of prints made from a specific printing process in one single batch. Each batch is then numbered, i.e., first edition, second edition, etc.

Front 97

Monotype

Back 97

A printmaking process involving drawing or painting directly on a plate, resulting in only one impression of an image.

Front 98

Monoprint

Back 98

A monoprint is a single impression of an image made from a reprintable block. Such as a metal plate used for etching, a litho stone or wood block. Rather than printing multiple copies of a single image, only one impression may be produced, either by painting or making a collage on the block.

Front 99

Sculpture

Back 99

the art of making two- or three-dimensional representative or abstract forms, especially by carving stone or wood or by casting metal or plaster

Front 100

In-The-Round (Freestanding)

Back 100

Sculpture in the round (Freestanding), intended to be seen from many viewpoints.

Front 101

Relief

Back 101

Sculpture that projects from or is carved into a flat surface. When the sculptural form is at least half round or more, it is called a high relief; when it is less, it is called a low or bas relief.

Front 102

Additive

Back 102

Any art-making process in which materials are built up to create the final product.

Front 103

Subtractive

Back 103

A technique in which a sculptural material, such as clay or wood, is carved away to produce a form.

Front 104

Carving

Back 104

A type of sculpture in which unwanted materials are removed from a large block of material like stone, wood, or Styrofoam.

Front 105

Modeling

Back 105

In drawing, carefully manipulating gradations in values to create the appearance of natural light on objects

Front 106

Casting

Back 106

A process in which a mold of a form is made, then a liquid material is poured in and allowed to harden. The mold is then removed, leaving a sculptural replica of the original form.

Front 107

Earthworks

Back 107

In art, when the earth itself or natural materials are used as sculpture. Earthworks exist in ancient as well as contemporary art.

Front 108

Constructed

Back 108

The use of putting objects together to create a bigger sculpture

Front 109

Readymades

Back 109

Already existing objects incorporated into a sculpture or assemblage. Ready-mades refer to found objects that are presented almost in their original form as finished sculptures.

Front 110

Light (Sculpture)

Back 110

A sculpture using light to make art

Front 111

Kinetic (Sculpture)

Back 111

A sculpture that moves

Front 112

Installation

Back 112

An art piece usually of mixed media that is organized for and placed in a specific space.

Front 113

Bas Relief

Back 113

Low relief carving. Pronounced "bah relief."

Front 114

High Relief

Back 114

Sculpture that projects from or is carved into a flat surface. When the sculptural form is at least half round or more, it is called a high relief; when it is less,