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Art 130 > Midterm Test > Flashcards

Midterm Test Flashcards

1
Q

The deliberate placement of objects on a page

A

Balance

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2
Q

The arrangement of elements or parts of a design (text, images) on the page.

A

Composition

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3
Q

The considered selection of design elements that have similar attributes.

A

Consistency

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4
Q

Obvious differences in elements in a composition; size, form, color, and weight.

A

Contrast

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5
Q

One small part of a composition, such as a point or line, an image, a letter, or a word.

A

Element

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6
Q

A continuous form of connection between two points.

A

Line

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7
Q

The white or colored area around an element-for example, a margin of a page.

A

Negative Space

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8
Q

A dot on a page, such as a period.

A

Point

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9
Q

A form, image, or word printed or formed on the page.

A

Positive Space

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10
Q

The relationship of one object to another.

A

Proximity

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11
Q

The repeated use of select design elements within the same composition.

A

Repetition

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12
Q

The alteration of selected aspects of a repeated element.

A

Repetition with Variation

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13
Q

The open space surrounding a positive image that defines shape and directs hierarchy.

A

White Space

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14
Q

The ability of the human brain to observe an incomplete circle and to perceive it as complete.

A

Closure

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15
Q

A theory that suggests that the mind perceives and organizes holistically and finds patterns in that which appears to be unconnected.

A

Gestalt Psychology

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16
Q

The page, surface, or area in which the design will be place.

A

Ground

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17
Q

The mind creates a solid object on the page from suggestions of shapes and placement and proximity of elements.

A

Law of Closure

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18
Q

A composition where elements are juxtaposed and do not mirror the other forms on the page.

A

Asymmetry

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19
Q

A composition where elements are balanced or mirrored on a page.

A

Symmetry

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20
Q

Folds in alternate directions.

A

Concertina Folds

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21
Q

Sheets of paper are folded in half, so that they are double thickness. The two folds are at right angles to each other and then bound on the edge.

A

French Folds

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22
Q

A way of folding paper so that the outer quarters of a page are folded to meet in the center. The result works like symmetrical doors that open onto an inner page.

A

Gatefold

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23
Q

The direction of wood fibers that make up a piece of paper.

A

Paper Grain

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24
Q

Method similar to paperback binding, where loose sheets are encased in a heavier paper cover, then glued to the book spine. Edges are trimmed to be flush with each other.

A

Perfect Binding

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25
Q

A way of folding a page so that successive folds turn in on themselves and the page is folded into a roll.

A

Rollover Folds

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26
Q

Binding method where sheets of paper are folded in the center, stitched together along the fold, then glued into the cover spine.

A

Saddle Stitching

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27
Q

A unified, identifiable look for a product or organization.

A

Identify

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28
Q

The space on a bookstore’s shelf occupied by spines of books from the same series.

A

Patch

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29
Q

The process of placing something within the interrelated systems of meaning that make up the world.

A

Contextualization

30
Q

Gathering material that does not preexist, such as photographing, drawing, making prototypes, interviewing people.

A

Primary Research

31
Q

Gathering material that already exists, such as design work, color samples, written texts, newspaper/magazines articles, archive images (e.g. historical samples of advertising)

A

Secondary Research

32
Q

A form of research where the emphasis is on indirect, creative forms of inquiry and thinking.

A

Lateral Thinking

33
Q

A form of thinking that implies strategic thought process, one in which step-by-step logic is employed.

A

Linear Reasoning

34
Q

An aesthetic concept describing something that is drawn from the real, but has been “distilled” to its barest minimum form, color, or tone, often removed from its original context.

A

Abstraction

35
Q

The recording in written, visual, or aural form of what is of interest.

A

Documentation

36
Q

Something that looks like, resembles, or stands for something else. In drawing, this is also known as figurative, since it deliberately attempts to mimic the thing drawn.

A

Representation

37
Q

BrainstormingA visual aid to thinking laterally and exploring a problem, usually by stating the problem in the center of a page and radiating outward spokes for components of the problem. Each component can then be considered separately with its own spokes, so that each point, thought, or comment is recorded.

A

Brainstorming

38
Q

Loosely drawn compositions from thumbnail drawings.

A

Roughs

39
Q

Small, rough visual representation of the bigger picture or final outcome of a design.

A

Thumbnail

40
Q

A pragmatic and unambiguous method of giving clear information.

A

Didactic

41
Q

Word or image that sets up associations; for example a “piece of cake” is a metaphor for easy.

A

Metaphor

42
Q

A style that is less clear, but more artistic, more open to interpretation.Poetic

A

Poetic

43
Q

A style of arguing, persuading, or engaging in dialogue. For a designer, it is a way of engaging the targeted audience.

A

Rhetoric

44
Q

A system that links objects, words, and images to meanings through signs and signifiers.

A

Semiotics

45
Q

A way of representing an object or word through an image, sound, or another word; for example, a crossed knife and fork on a road means a cafe ahead.

A

Symbolism

46
Q

System used on monitors and televisions, based on RGB (red, green, blue). When combined, these form white light.

A

Additive Color

47
Q

Colors that lie adjacent o each other on the color wheel - for example, blue and green.

A

Analogous Color

48
Q

Cyan, magenta, yellow, key (black): the four colors that make up the full-color printing process.

A

CMYK

49
Q

Colors that lie opposite each other on the color wheel-for example, red and green.

A

Complementary Color

50
Q

The complete range of colors available within one system of reproduction-for example, CMYK or RGB gamut.

A

Gamut

51
Q

Red, yellow, or blue.

A

Primary Color

52
Q

Secondary ColorA mix of any two primaries: orange, green, or violet.

A

Secondary Color

53
Q

Any flat color, like Pantone or Toyo colors, printed as a solid, and not make up of CMYK

A

Spot Color

54
Q

System used in printing, based on CMYK colors.

A

Subtractive Color

55
Q

A mix of any two secondaries.

A

Tertiary Color

56
Q

Colors in the red spectrum appear to advance to the human eye, whereas those in the blue spectrum appear to recede.

A

Advancing and Receding Color

57
Q

The expression of color in numerical values that enable us to mix them efficiently: CMYK, LAB, RGB.

A

Color Modes

58
Q

The human eye tends to differentiate between two neighboring colors by emphasizing their differences rather than their similarities- background colors affect foreground colors (the image).

A

Simultaneous Contrast

59
Q

Vibration Complementary colors of equal lightness and high saturation tend to make each other appear more brilliant, and cause the illusion of motion along the edges where they meet.

A

Vibration

60
Q

Colors differ in perceived “weight” for example, if a man were to move two large boxes equal in size, one pale green and the other dark brown, he would probably pick up the green one because it appeared lighter .It is generally assumed that blue-green looks lighter whereas reds appear stronger, and therefore heavier.

A

Weight

61
Q

Similar, comparable, alike; for example, two colors that are near to each other, such as grass green and leaf green, are analogous.

A

Analogous

62
Q

Differentiation between two or more elements, in this context, of image color. For example, high contrast is between black and white, or blue and orange; low contrast is between two similar shades of blue, such as cyan and cornflower blue.

A

Contrast

63
Q

Image with a balance of two or more colors that work together-for example, taupe and gray.

A

Harmony

64
Q

Connections between colors and emotions, culture, experience, and memory.

A

Association

65
Q

A color’s broader associations, for example: green-jealousy, naivety, illness, environment, nature.

A

Connotations

66
Q

What the color literally means, or is; for example, a red rose is a green stem with red petals.

A

Denotations

67
Q

Facts or pieces of information of any kind.

A

Data

68
Q

Drawing or plan that explains the parts of something, or how something works.

A

Diagram

69
Q

Related to quantities of things, or measurements (numerical).

A

Quantitative

70
Q

Simplified diagram or plan related to a larger scheme or structure.

A

Schematic

71
Q

Related to the collection, classification, and organization of (often numerical) information.

A

Statistical

Art 130 (2 decks)

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