Chaps 4-8 Flashcards

1
Q

Visual realities

A

Computer simulations of real or imagined places

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2
Q

Foreshortening

A

The dimensions of the closer extremities are adjusted in order to make up for the distortion created by the point of view

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3
Q

Atmospheric or aerial perspective

A

These rules state that the quality of the atmosphere between us and large objects changes their appearance. Objects farther away appear less distinct and often bluer in color, and the contrast between light and dark is reduced

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4
Q

Chiaroscuro

A

The balance and shade in a picture especially it’s skillful use by the artist in representing the gradual transition around a curved surface from light to dark

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5
Q

Modeling

A

The use of chiaroscuro to represent light falling across a curved or round surface

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6
Q

Highlights

A

Directly reflect a light source, are indicated by white and the various degrees of shadow are notated by darker areas

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7
Q

Core of the shadow

A

The darkest area on the object itself

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8
Q

Cast shadow

A

The darkest area of all

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9
Q

Tenebrism

A

“Hidden in the shadows” makes use of large areas of dark contrasting sharply with smaller brightly illuminated areas

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10
Q

Hatching

A

An area of closely spaced parallel lines

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11
Q

Cross-hatching

A

One set of hatches is crossed at an angle by a second and sometimes third set

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12
Q

Shade

A

Whenever black is added to a hue

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13
Q

Tint

A

Whenever white is added to a hue

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14
Q

Value

A

Relative degree of lightness or darkness

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15
Q

Hue

A

Each primary or secondary color

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16
Q

Spectrum

A

Bands of different colors created by sunlight passing through a prism

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17
Q

Primary colors

A

Red yellow and blue

18
Q

Secondary colors

A

Orange green and violet

19
Q

Intermediate colors

A

Mixtures of a primary and neighboring secondary color (yellow-orange)

20
Q

Subtractive process

A

Adding all of the colors together resulting in black

21
Q

Additive process

A

Mixing light, as more and more colors are combined more light is added to the mixture and colors that result are brighter than either taken alone (ex: computer screen)

22
Q

Intensity

A

A function of the colors relative brightness or dullness

23
Q

Medium

A

A liquid that makes paint easier to manipulate

24
Q

Palette

A

Range of colors used by an artist

25
Q

Analogous color schemes

A

Those composed of hues that neighbor each other on the color wheel

26
Q

Open palette

A

Employing the entire range of hues in a wide variety of keys and intensities, polychromatic

27
Q

Restricted/closed palette

A

Limiting the range of color selection

28
Q

Local color

A

The color of objects viewed up close in even lighting conditions (expected, i.e. banana= yellow)

29
Q

Perceptual color

A

The changing of a color depending on the light (i.e. distant hill covered in trees looks blueish)

30
Q

Plein-air

A

French word meaning open air, painting landscapes outdoors to be true to the optical colors of the scene before you (i.e. Monet haystacks)

31
Q

Texture

A

Surface quality of the work

32
Q

Pattern

A

Repetitive motifs or design

33
Q

Kinetic art

A

To that moves or seems to move

34
Q

Impasto

A

Paint applied in a thick heavy manner

35
Q

Frottage

A

Invented by Max Ernst, painting technique by putting a sheet of paper over textured surfaces, especially floorboards and other wooden services and then rubbing a soft pencil across the paper

36
Q

Grattage

A

Also invented by Max Ernst, the campus is prepared with one or more layers of paint, placed over textured objects, then scraped over

37
Q

Plastic arts

A

Painting and sculpture- spatial

38
Q

Written arts

A

Music and literature- temporal

39
Q

Optical art

A

Giving the illusion of movement

40
Q

Bilateral symmetry

A

When there are minor discrepancies between one side and the other though the overall effect is still one of symmetry