Art 100

  1. Representational
    people and objects look as we wold expect it to
  2. Abstract
    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)
  3. Nonrepresentational/ Nonobjective
    description of works of art that have no reference to the natural world of images (doesn't look like anything)
  4. Trompe l'oeil
    French for fool the eye. Art intended to deceive the audience
  5. Subject Matter
    That of which is depicted. The literal visible image
  6. Content
    The message conveyed by a work of art- its subject matter and whatever the artist hopes to convey by that subject matter
  7. Iconography
    The study or description of the sumbolic meaning of signs, subjects, and images
  8. Convention
    Traditional or widely accepted way of representing a subject (the wings of Gabriel an Annunciation)
  9. Vanitas
    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)
  10. Line
    a mark left by a moving point, actual or implied, and varying in direction, thickness and density
  11. Implied Line
    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.
  12. Shape
    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
  13. Mass
    any solid shape taht occupies a 3-d volume
  14. One point perspective
    a version of linear perspective in which there is only one vanishing point in the composition
  15. Two point perspective
    a version of linear perspective in which there are two (or more) vanishing points in the composition
  16. Vanishing Point
    in linear perspective , the point on the horizon line where parallel lines appear to converge
  17. Foreshortening (p. 86)
    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
  18. Axonometric Projection (p. 84)
    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
  19. Oblique Projection (p. 84)
    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
  20. Atmospheric Perspective (p. 94)
    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
  21. Aerial Perspective
    same as atmospheric perspective
  22. Light
    illusion of light (shading) value scale relative to light or dark
  23. Chiaroscuro
    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.
  24. Modeling
    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
  25. Hatching
    an are of the closely spaced parallel lines, employed in drawing and engraving, to create the effect of shading or modeling
  26. Cross-Hatching
    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.
  27. Refracted Light
    Light primary colors= additive color. Colored lights, when combined, becomes succesively lighter. Light primaries combined create white light
  28. Reflected Light
    Pigment primary colors= subtractive color reflected light is reduced as pigment colors are combined
  29. Pigments
    the coloring agents of a medium
  30. Hue
    a color, as found on a color wheel
  31. Tint
    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
  32. Shade
    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
  33. Saturation (see intensity)
    the relative purity of a color's hue, and a function of its relative brigthness or dullness; also known as saturation
  34. Additive Process
    (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
  35. Subtractive Process
    (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
  36. Primary Colors
    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
  37. Secondary Colors
    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
  38. Intermediate Colors
    the range of colors on the color wheel between each primary color and it neightboring secondary colors; yellow-green for example
  39. Palette
    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
  40. Analogous Colors
    pairs of colors, such as yellow and orange, that are adjacent to each other on the color wheel
  41. Complementary Colors
    Pairs of colors, such as red and green, that are directly opposite each other on the color wheel
  42. Polychramatic
    a color composition consisting of a variety of hues
  43. Simultaneous Contrast
    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
  44. Pointillism
    Painting with different colored dots placed closely together to reach a different color
  45. Texture
    the surface quality of a work
  46. Time
    the primary elements of temporal media, linear rather than spatial in character
  47. Kinetic Art
    art that moves
  48. Composition
    the organization of the formal elements on a work of art
  49. Focal Point
    in a work of art, the center of visual attention, often different from the physical center of work
  50. Afocal
    no focal point at all
  51. Balance
    the even distribution of weight, either actual weight or visual weight in a composition
  52. Visual Weight
    as opposed to actual weight, the apparent "heaviness" or "lightness" of a shape or form
  53. Symmetrical
    when two halves of a composition correspond to one another in terms of size, shape and placement of forms
  54. Asymmetrical balance
    balance achieved in a composition when neither side reflects or mirrors the other
  55. Radial Balance
    a circular composition in which the elements project outward from a central core at regular intervals, like the spokes of a wheel
  56. Repition (see pattern and rythmn)
    • 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.
  57. Scale
    size of something in relation to normal size
  58. Proportion
    in any composition the relationship between the parts to each other and the the whole
  59. Golden section
    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
  60. Medium
    (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
  61. Cartoon
    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
  62. Charcoal
    burned sticks of wood tends to smudge easily; if you press harder you get a different line. Bumpy paper ideal to draw on
  63. Pastel
    (1) a soft crayon made of chalk and pigment; also any work done in this medium (2) a pale, light color,
  64. Binder
    in a medium the substance that holds the pigments together
  65. Metalpoint
    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.
Card Set
Art 100
Exam 1