Art 100

people and objects look as we wold expect it to

art that reduces the world to its essential qualities or distorts it to highten it expressive impact. May have only a symbolic resemblance to natural objects (you can tell what it is)

description of works of art that have no reference to the natural world of images (doesn't look like anything)

French for fool the eye. Art intended to deceive the audience

That of which is depicted. The literal visible image

The message conveyed by a work of art- its subject matter and whatever the artist hopes to convey by that subject matter

The study or description of the sumbolic meaning of signs, subjects, and images

Traditional or widely accepted way of representing a subject (the wings of Gabriel an Annunciation)

a type of still life showing objects that symbolize the uppermanence of life, and intended as reminders of the fultility of arrousing knowledge, wealth, and earthly possesions (think of skull picture arrangement)

a mark left by a moving point, actual or implied, and varying in direction, thickness and density

a line created by movement or direction, such as the line established by a pointing finger, the direction of a glance or a body moving through space.

a 2-d area, the boundaries of which are measured in term of height and width. More braodly, the form of any object or figure

any solid shape taht occupies a 3-d volume

a version of linear perspective in which there is only one vanishing point in the composition

a version of linear perspective in which there are two (or more) vanishing points in the composition

in linear perspective , the point on the horizon line where parallel lines appear to converge

the modification of perspective to decrease distortion resulting from the apparent visual contraction of an object or figure as it extends backward from the picture plane at an angle approaching the perpendicular

a technique for depicting space, often employed by architects, in which all lines remain parallel rather than receding to a common vanishign point as in linear perspective

a system of projecting space, commonly used in Japanese art, in which the front of the object or building is parallel to the picture plane, and the sides, receding at an angle, remain parallel to each other, rather than converging as a linear perspective

a technique, often employed in landscape painting, designed to suggest 3-d space in 2-d space of the picture plane, and in which forms and objects distant from the viewer become less distinct, often bluer or cooler in color, and contrast among the various distant elements is greatly reduced

same as atmospheric perspective

illusion of light (shading) value scale relative to light or dark

In Italian, the word chiaro means "light" and the word oscuro means dark. Means the balance of light and shade in a picture, especially its skillful use by the artist representing the gradual transition around a curved surface from light to dark.

In sculpture, the shaping of a form in some plastic material, such as clay or plaster; in drawing, painting, and printmaking, the rendering of a form usually by means of hatching or chiaroscuro, to creat the illusion of a 3-d form

an are of the closely spaced parallel lines, employed in drawing and engraving, to create the effect of shading or modeling

Two or more sets of roughly parallel and overlapping lines, set at an angle to one another, in order to create a sense of 3-d, modeled space.

Light primary colors= additive color. Colored lights, when combined, becomes succesively lighter. Light primaries combined create white light

Pigment primary colors= subtractive color reflected light is reduced as pigment colors are combined

the coloring agents of a medium

a color, as found on a color wheel

A color or hue modified by the addition of another color resulting in a hue of a lighter value, in the way, for instance, that the addition of white to red results in pink

a color or hue modified by the addition of another color, resulting in a hue of a darker value, in the way, for instance, that the addition of black to red results in a maroon

the relative purity of a color's hue, and a function of its relative brigthness or dullness; also known as saturation

(1) in color, the fact that when different hues of colored light are combined the resulting mixture is higher in the key than the original hues and brighter as awell, and as more and more hues are added, the resulting mixture is closer and closer to white. (2) in sculpture the process in whic form is built up, shaped, and enlarged by the addition of materials, as distinguished from subtractive sulptural processes, such as carving

(1) in color the fact that when different hues of colored pigment are combined the resulting mixture is lower in key than the original hues and duller as well and as more and more hues are added the resulting mixture is closer and closer to black (2) in sculpture the process in which form is discovered by the removal of materials of materials, by such means as carving, as distinguished from additive sculptural processes, such as assemblage

the hues that in theory cannot be created from a mixture of other hues and from which all other hues are created-namely, in [igment, red, yellow, and blue, and in refracted light, red-orange, green and blue violet

Hues created by combining two primary colors; in pigment, the secondary colors are traditionally considered to be orange, green and violet; in refracted light, yellow, magenta, and cyan

the range of colors on the color wheel between each primary color and it neightboring secondary colors; yellow-green for example

literally a thin board with a thumb hole at one end upon which the artist lays out and mixes colors but by extension the range of colors used bt the artist. In this last sense, a closed or restricted palette is one employing only a few colors and an open palette is one using the full range of hues

pairs of colors, such as yellow and orange, that are adjacent to each other on the color wheel

Pairs of colors, such as red and green, that are directly opposite each other on the color wheel

a color composition consisting of a variety of hues

a property of complementary colors placed side by side, resulting in the fact that both appear brighter and more intense than when seen in isolation

Painting with different colored dots placed closely together to reach a different color

the surface quality of a work

the primary elements of temporal media, linear rather than spatial in character

art that moves

the organization of the formal elements on a work of art

in a work of art, the center of visual attention, often different from the physical center of work

no focal point at all

the even distribution of weight, either actual weight or visual weight in a composition

as opposed to actual weight, the apparent "heaviness" or "lightness" of a shape or form

when two halves of a composition correspond to one another in terms of size, shape and placement of forms

balance achieved in a composition when neither side reflects or mirrors the other

a circular composition in which the elements project outward from a central core at regular intervals, like the spokes of a wheel

• Pattern: a repetitive motif or design
• Rythmn: an effect achievedwhen shapes, colors,or a regular pattern of any kind is repeated over and over again.

size of something in relation to normal size

in any composition the relationship between the parts to each other and the the whole

a system of proportion developed by the ancient Greeks obtained by dividing a line so that the shorter part is to the longer part as the longer part is to the whole, resulting in a ratio that is approximately 5 to 8

(1) any material used to create a work of art. Plural form, media. (2) In painting, a liquid added to paing that makes it easier to manipulate

as distinct from common usage, where it refers to a drawing with humurous content, any full-size drawing, subsequently transferred to the workign surface, from which a painting or fresco is made

burned sticks of wood tends to smudge easily; if you press harder you get a different line. Bumpy paper ideal to draw on

(1) a soft crayon made of chalk and pigment; also any work done in this medium (2) a pale, light color,

in a medium the substance that holds the pigments together

drawing medium is a fine metal wire. The drawing surface must be specially coated. When the metal used is silver, the technique known as silver point.