Art I Final Exam Review

Front 1

perspective

Back 1

creating the illusion of depth on a 2-D surface

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visual perspective

Back 2

simple way to create illusino of depth through process of overlapping

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atmospheric

Back 3

creating depth using diminishing value, contrast, color, and detail

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linear perspective

Back 4

uses vanishing point, horizon line, and receding parallel lines

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one point perspective

Back 5

front view, vertical lines, horizontal lines, vanishing point, CD

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two point perspective

Back 6

corner view, vertical lines, vanishing point, CD

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three point perspective

Back 7

corner view and height, vanishing point, CD

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vanishing point

Back 8

determines position and direction of sight, point where lines converge

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horizon line

Back 9

is equal to eye level

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ellipse

Back 10

foreshortened circle in perspective

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two basic assumptions of perspective

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1)objects in the distance appear smaller than those close
2)parallel lines or planes receding in the distance seem to meet at some point

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1)objects in the distance appear smaller than those close
2)parallel lines or planes receding in the distance seem to meet at some point

Back 12

two basic assumptions of perspective

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2-D
3-D

Back 13

forms of artwork

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two dimensional

Back 14

flat artwork that creates only the illusion of depth

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two dimensional examples

Back 15

drawings, paintings, prints--have a back

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three dimensional

Back 16

artwork seen in the round, has multiple sides and actual depth

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three dimensional examples

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sculptures

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color

Back 18

a visual sensation created when light is reflected off a surface and seen by the eye

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hue, value, intensity

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three properties of color

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primary colors

Back 20

cannot be made by mixing other colors

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red, yellow, and blue

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What are the primary colors?

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secondary colors

Back 22

combination of primary colors

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green, orange, and violet

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What are secondary colors?

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tertiary/intermediate colors

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combination of primary and secondary colors

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B/G, B/V, R/O, R/V, ect.

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What are the tertiary/intermediate colors?

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hue

Back 26

actual color in the color spectrum

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intensity

Back 27

a measure of relative brightness and purity or grayness of a color; brightness or darkness of a hue

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value

Back 28

degree of lightness or darkness of a hue

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tints

Back 29

light value of a color made by adding white

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shades

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dark value of a color made by adding black

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color schemes

Back 31

plan for organizing color

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monochromatic

Back 32

gradations of one color (one hue plus its tints and shades)

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complementary

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colors that are opposite each other on the color wheel

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analogous

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colors next to each other on the color wheel that exist in groups of 3-5 colors

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neutral

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consists of white, brown, and black

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line
shape
form
space
texture
color
value

Back 36

7 elements of art

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line

Back 37

a continuous mark made on the surface by a moving point

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shape

Back 38

defines space using only height and width; 2-D area confined by a line

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organic
geometric

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two types of shapes

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form

Back 40

defines space using height, width, and depth and is considered 3-D

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organic
geometric

Back 41

two types of form

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space

Back 42

defines the area in and around an object; can exist both 2-D and 3-D; positive and negative

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texture

Back 43

visual and tactile

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actual
implied

Back 44

two types of line

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color

Back 45

a visual sensation created when light is relected off the surface and seen by the eye

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value

Back 46

the lightness or darkness of a hue; creates volume and form; contrast is emphasized to help enhance depth of form

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clay

Back 47

a variety of earthy materials formed by the decomposition of granite

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leatherhard

Back 48

state of clay when clay feels cool and moist but is hard enough to hold its shape; can be carved into and clay attached to a surface. can not be modeled

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greenware

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unfired, dry clay; can be recycled with water

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bone dry

Back 50

state of clay when the unfired clay is completely dried out; very fragile

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bisque

Back 51

unglazed clay in a fired or baked state; fired once

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plastic
leatherhard
greenware
bone dry
bisque

Back 52

stages of clay

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plastic

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the ability clay has to be flexible, yet retain its shape when formed into other shapes

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glaze

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a thin liquid coating of minerals fused to clay by firing in a kiln; when heated at a high temperature, it forms a thin, oermanent glassy surface

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kiln

Back 55

a furnace used for drying, firing, and glazing clay creations

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firing

Back 56

to expose a clay object to high heat in order to change it chemically and harden it permanently

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wedge

Back 57

kneading clay to remove air bubbles and to even the consistency of the clay

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3 methods of handbuilding

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includes pinching, coiling, and building with slabs

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pinching

Back 59

the act of squeezing plastic clay between thumb and finger to form a pot or sculpture

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coiling

Back 60

a method of forming pottery or sculputre from rolls of clay welded together to create walls

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slab method

Back 61

the use of flat pieces of clay, even in thickness, to build clay forms

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slip

Back 62

clay diluted with water to a creamy consistency and used to join two pieces of clay; liquid clay

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scoring

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to make rough indentations with a nail, pointed tool, or toothbrush as a step before adding slip to the surface to join two pieces of clay

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cubism

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broken or fractured reality; geometric shapes and forms; multiple views and perspectives shown at once

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Paul Cezanne

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"Everything in nature takes its form form the sphere,cone, and cylinder."

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Cezanne, Picasso (Spaniard), and Braque (Frenchman)

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Key Players in Cubism

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abstract
realistic
non-objective

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styles of art

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abstract

Back 68

object or subject matter has been stylized or simplified rendering it possible unrecognizable

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realistic

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object or subject matter is recognizable; appears as a "real" object; sometimes it may be so "real" that it appears to be a photograph

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non-objective

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art for art sake; artwork that did not begin with a particular object or subject matter in mind; could be a study of line or color