Art-Chapter 2 And 3 Vocab Quiz

Front 1

A line that describes volume across the surface of an object is called ---- line

Back 1

Cross-contour

Front 2

An achromatic value scale doesn't utilize ----.

Back 2

Colors

Front 3

Another name for atmospheric perspective is ----

Back 3

Aerial

Front 4

Balance that involves a mirror-like repetition on either side of a central axis is called ----

Back 4

Symmetrical balance

Front 5

Chiaroscuro was first used by fifteenth century ---- painters to give the illusion of rounded forms on a flat surface.

Back 5

Italian

Front 6

Regular shapes are ---- ; Irregular shapes are ---- .

Back 6

Geometric and organic

Front 7

Rhythm in art is demonstrated by the ---- of one or more of the elements of art.

Back 7

Repetition

Front 8

The space in paintings is referred to as ---- .

Back 8

Planar

Front 9

Value in art refers to ---- and ---- .

Back 9

Lightness and darkness

Front 10

A marble sculpture made by cutting away stone is made in a ---- process.

Back 10

Subtractive

Front 11

Except for very small sculptures, all cast sculptures are created using the ---- method of casting

Back 11

Lost wax

Front 12

Mixed media artworks designed for a specific interior or exterior space are called ---- .

Back 12

Installations

Front 13

Some of the oldest surviving paintings were made on ---- .

Back 13

Clay vessels

Front 14

In ---- printing, areas that are not to be printed are cut away from the printing surface, so the areas to be printed are left higher.

Back 14

Relief

Front 15

The actual material substances used to create an artwork are called ---- .

Back 15

Media

Front 16

The ---- is an early type of photographic process

Back 16

Daguerreotype

Front 17

The intense colorful powders used to make paints are called ---- .

Back 17

Pigments

Front 18

The formal elements

Back 18

Line, light and value, color, texture and pattern, shape and volume, space, time and motion (sometimes works also contain: chance, improvisation, spontaneity, engaging senses other than sight.

Front 19

Line

Back 19

Is a moving point, having length and no width.

Actual lines: physically exist and can be broad, thin, straight, jagged (irregular or regular)

Implied lines: do not physically exist, but appear to be real (dotted, broken, pointing action)

Front 20

Lines have direction

Back 20

Horizontal : imply inactivity

Vertical: the potential of action

Diagonal: suggest movement, like falling trees

Curving: suggest flowing movement

Front 21

Gesture lines

Back 21

Rapid, sketchy marks mimicking the movement of human eyes when examining a subject

Front 22

Outline

Back 22

Follows the edges of a silhouette of a 3-D form with uniform line thickness

Front 23

Contour lines

Back 23

Mark the edges of a 3-D object with varying line thickness and with some internal detail.

Front 24

Cross-contours

Back 24

Repeated lines around an object and express its 3-dimensionality

Front 25

Hatching

Back 25

Lines can produce tones, or values, as in parallel lines

Front 26

Crosshatching

Back 26

Parallel lines in layer.

Many thin, parallel lines create the illusion of a gray tone, parallel lines layered on top of each other create darker gray tones.

Front 27

Light and value

Back 27

Light is basis for vision, necessary for art, energy stimulates the eyes and brain, light can be natural (sun, moon, ...) or artificial (incandescent, fluorescent, neon, ...)

Most art does not emit light but reflects ambient light (the light all around us)

Value or Tone represents in 2-D art various level of light. It is one step on a gradation from light and dark. Achromatic value scale are the extremes (white and black, gray tones in between) Value is also associated with color: Red can be lighter or darker.

Front 28

Shading or modeling

Back 28

Manipulating gradations in values, creating the appearance of natural light

Front 29

Colors

Back 29

Visible in refracted light, a spectrum of color, like a rainbow. It’s properties are: hue, value, intensity (chroma and saturation) which is the brightness or dullness of a hue.

Hue: pure color, the color’s name.

Value: lightness and darkness within a hue (black added to a hue is shade and white added to a hue is tint)

Local colors: normally found in the objects around us.

Additive color system: applies to light-emitting media (theater lighting, performance art, Computer etc..)

Subtractive color system: mix pigments to control the light that is reflected from them

Primary colors: red, yellow, and blue

Secondary: orange, green, violet

Tertiary: blue green

Analogous: similar in appearance, next to each other on the color wheel

Complementary: opposites on the color wheel

Front 30

Pigments

Back 30

Powdered substances ground into oil, acrylic, polymer, or other binders to create paints

Front 31

Texture

Back 31

A surface characteristic that is tactile or visual

Front 32

Tactile texture

Back 32

Consists of physical surface variations that can be perceived by touch

Front 33

Visual texture

Back 33

It is illusionary! Fluffy cloud, lustrous satin etc...

Front 34

Simulated texture

Back 34

Mimics reality

Front 35

Abstracted texture

Back 35

Texture based on existing texture that has been simplified

Front 36

Invented texture

Back 36

A product of human imagination

Front 37

Pattern

Back 37

A configuration with a repeated visual form

Front 38

Natural patterns

Back 38

Occur in leaves, flowers, clouds, wave patterns etc...

Front 39

Geometric patterns

Back 39

Have regular elements spaces at regular intervals

Front 40

Shape

Back 40

2-D visual entity.

It can be regular (geometric, circle, square, triangle, hexagon) or irregular (organic or biomorphic)

Front 41

Volume

Back 41

3-D visual entity.

Can be regular, irregular, geometric, biomorphic

Front 42

Space

Back 42

In art there can be space in 2-D artwork.

It can be the space of sculpture and architecture, or the area it occupies and the voids it contains.

It can also be the space of performance art, installation, and intermedia work

Front 43

Planar space

Back 43

It is the height and width of the picture surface.

Front 44

Complex illusions of space are created through _____.

Back 44

Different kinds of perspectives

Front 45

Perspective

Back 45

The illusion of depth on a flat picture plane

Front 46

Atmospheric perspective (or aerial)

Back 46

Refers to the light, bleached-out, fuzzy handling of distant forms to make them seem far away.

Front 47

Linear perspective

Back 47

Theory that parallel lines appear to converge as they recede. They seem to meet on the horizon line

Front 48

Horizon Line

Back 48

Corresponds to the viewer’s line

Front 49

One point perspective

Back 49

The frontal plane of a volume is closest to the viewer, all other planes appear to recede to a single vanishing point

Front 50

Two-point perspective

Back 50

A single edge of a volume is closest to the viewer, all planes appear to recede to one of two vanishing points.

Front 51

Three-point perspective

Back 51

Only a single point of a volume is closest to the viewer, all planes seem to recede to one of three vanishing points.

Front 52

Time

Back 52

It is the period that viewers study and absorb an artwork.

Front 53

Motion

Back 53

It is Implied by rhythmic repetition of abstracted forms. Descending arrangements of elements from the upper left down to the lower right.

Front 54

Motion

Back 54

It is Implied by rhythmic repetition of abstracted forms. Descending arrangements of elements from the upper left down to the lower right.It is also an integral part of films interactive digital arts, kinetic sculpture and performance.

Time and motion are related.

Motion can’t exist without time and motion marks the passage of time

Front 55

Composition + principles of composition

Back 55

The arrangement of formal elements in a work of art.

The principles of composition are: balance, rhythm, proportion, scale, emphasis, unity and variety.

Front 56

Balance

Back 56

Placing elements so that their visual weight seem evenly distributed

Front 57

Symmetrical balance

Back 57

Visual weight is distributed evenly

Front 58

Asymmetrical balance

Back 58

Careful distribution of uneven elements

Front 59

Radial balance

Back 59

Elements in the composition visually radiate outward from a central point.

Front 60

Rhythm

Back 60

The repetition of carefully placed elements.

Regular rhythm(smooth, systematically repeated), Alternating rhythm(different elements repeatedly placed side by side), Eccentric rhythm(irregular but not so much so that the visuals do not connect),

Front 61

Proportion

Back 61

The size of one part in relation to another within a work of art

Front 62

Scale

Back 62

The size of something in relation to what we assume to be normal

Front 63

Emphasis

Back 63

One or more focal points in an artwork.

When there are several focal points, lesser ones are called accents

Front 64

Unity

Back 64

Overall cohesion within an artwork

Front 65

Variety

Back 65

The element of difference within an artwork.

Front 66

Media: drawing

Back 66

One of the oldest disciplines, using a wide range of materials

Front 67

Dry media: usually stick form:

Back 67

Pencil, sanguine chalk, pastel, silverpoint

Front 68

Charcoal

Back 68

Carbon stick created from burnt wood, creates deep, dark areas and a range of lighter tones

Front 69

Chalk and pastels

Back 69

Colored materials held together by wax or glue and shaped into sticks, almost pure pigment

Front 70

Silverpoint

Back 70

Produced by a stylus made of silver that leaves marks on paper or wood coated with layers of gesso as a ground.

Silverpoint drawings are known for delicacy and precise lines

Front 71

Wet media

Back 71

Liquid form, ink the most common, used with either brush or pen.

Lines made by pen marks and washes by brush are usually fluid

Front 72

Printmaking

Back 72

The process of making multiple impressions, using a printing plate, woodblock, stone or stencil. (Intaglio, relief, lithography, serigraphy, monotype)

Front 73

Relief printing

Back 73

Areas not to be printed are cut away. Areas to be printed are left higher. Ink is applied to the higher areas, the surface is sent through a press

Front 74

Intaglio

Back 74

It has fine lines, a high level of details, rich dark tones.

Artists cut into a flat surface to make the image. Processes: dry point, engraving, etching, aquatint

Front 75

Etching

Back 75

A metal plate is coated with a protective ground, the artist scratches a design into the ground. The plate is placed in an acid bath, eating away or etching the exposed metal surface

Front 76

Monotype

Back 76

Make only one impression of an image, a drawing is rendered in oil or water soluble paint on a sheet of plexiglass or metal.

Paper is placed on top of the rendering and hand rubbed or put through a press

Front 77

Painting media consists of

Back 77

Pigments (intense color in powder form)

Binder (substance into which pigments is blended, holds the components together when dry)

Front 78

Tempera

Back 78

Pigments mixed with egg yolk, the binder

Front 79

Watercolors

Back 79

Pigments suspended in a gum Arabic water soluble glue binder

Front 80

Gouache

Back 80

Watercolor with white chalk, creates opaque paint

Front 81

Watercolors

Back 81

Pigments suspended in a gum Arabic water soluble glue binder

Front 82

Photography (Technology-based media)

Back 82

A light sensitive surface is exposed through a lens and creates an image on the surface.

Early photographic processes: daguerreotypes, platinum prints, silver prints

Front 83

Photomontage

Back 83

A collage or combination of photographs that are manipulated and altered to create a new image.

Front 84

Gouache

Back 84

Watercolor with white chalk, creates opaque paint

Front 85

Oil paint

Back 85

Powdered pigments are ground into a slow-drying oil (usually linseed) and are soluble in turpentine or mineral spirits

It has been use since the 15th century

Front 86

Acrylic paint

Back 86

Pigment ground with a synthetic polymer liquid binder, dries quickly into a flexible film, can be applied to almost any support.

Front 87

Carving

Back 87

Technique for creating 3-D work, artists remove unwanted material from a large block of stone or wood or a synthetic product! This is a subtractive process

Front 88

Modeling

Back 88

The pushing and pulling of a malleable substance such as clay or wax. It is an additive process because material is built up to create the final form

Front 89

Modeled sculpture

Back 89

Cast in bronze or plaster. For large bronze sculptures artists use the cire perdue process (lost wax casting method) it produces hollow metal sculpture with thin walls

Front 90

Assembled works

Back 90

They are made of various parts that are put together.

Assembled artworks are mixed media (mixing up the methods and media)

Front 91

Assemblages

Back 91

When found objects are incorporated

Front 92

Installation

Back 92

Mixed media artworks designed for a specific interior or exterior space