Chapter 2 - Visual Communication Flashcards

(48 cards)

1
Q

A long narrow mark. May be created using two forms next to each other. Basic means for recording and symbolizing ideas, observations, and feelings; primary means of visual communication. An extension of a point.

A

Line

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2
Q

Form geometric shapes can serve as an underlying organizational structure. A line in a composition that is not actually drawn. It maybe slight line of a figure in a composition, or a line along which two shapes align with each other.

A

Implied Line

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3
Q

Two dimensional or implied two dimensional area defined by line or changes in color. Refers to the expanse within the outline of a two dimensional area or within the outer boundaries of a three dimensional object.

A

Shape

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4
Q

Such as circles, triangles, and squares tend to be precise and regular. Any shape enclosed by a square or straight or perfectly circular lines. Contrasted with organic shapes.

A

Geometric shapes

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5
Q

Irregular, often curving or rounded. Seemed relax and more informal than geometric shapes based on natural forms. Resembles any living matter, not drawn with ruler or compass.

A

Organic shapes

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6
Q

Suggests shapes on a natural form. Shape in a work of art that resembles a living organism or an organic shape.

A

Biomorphic shape

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7
Q

The two dimensional flat picture surface.

A

Picture plane

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8
Q

Separate shapes that seem to lie above a background or ground.

A

Figure

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9
Q

A figure or foreground shape as opposed to a negative ground or background shape.

A

Positive shape

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10
Q

The background in two dimensional works- the area around and between figures. Also, the surface onto which a paint is applied consisting of sizing plus primer.

A

Ground

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11
Q

A background or ground shape seen in relation to foreground or figure shapes.

A

Negative shapes

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12
Q

Visual effect in which what was seen as a positive shape becomes a negative shape.

A

Figure-ground reversal

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13
Q

Space enclosed or filled by a three dimensional object or figure. The implied space filled by a painted or drawn object or figure

A

Volume

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14
Q

A self contained or explicitly limited form; having resolved balance of tensions, a sense of calm completeness implying a totality within itself. A sculptural shape that seems to look inward rather than outward.

A

Closed form

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15
Q

Form in a state of becoming or reaching out.

A

Open form

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16
Q

Based on the fact that parallel lines or edges appear to converge and objects appear smaller as the distance between them and the viewer increases

A

Linear perspective

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17
Q

A system for creating an illusion of depth or three dimensional space on a two dimensional surface

A

Perspective

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18
Q

In linear perspective, the point of view on the horizon line at which lines or edges that are parallel appear to converge

A

Vanishing point

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19
Q

In linear perspective, the implied or actual line or edge placed on a two dimensional surface to represent the place in nature where the sky meets the horizontal land or water plane.

A

Horizon line

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20
Q

In linear perspective, the presumed height of the artists eyes; this becomes the presumed height of the viewer standing in front of the finished work

21
Q

Fixed position or viewpoint

A

Vantage point

22
Q

Perspective system in which all parallel lines converge at a single vanishing point

A

One point perspective

23
Q

Creates the illusion of distance by reducing color saturation, value contrast, and detail in order to imply the hazy effect of atmosphere between the viewer and distant objects

A

Aerial perspective

24
Q

Art that incorporates actual movement as part of the design

25
Sometimes called tone. Lightness or darkness of tones or colors. White is light , black is dark. Halfway between extremes is sometimes called middle gray.
Value
26
Shading from light to dark
Chiaroscuro
27
The color of an object as we experience it, without shadows or reflections
Local color
28
Having no color. Most white, blacks, or browns
Achromatic
29
Not associated with any single hue.
Neutrals
30
A hue with black added
Shade
31
A hue with white added
Tint
32
Refers to the purity of a hue or color
Intensity or saturation
33
Mixture of colored pigments in the form of paints, inks and pastels. Reflected light is reduced as pigment colors are combined, generally leading to darker shades
Subtractive color mixture
34
Red, yellow and blue. Cannot be produced by an intermixing of other hues. Primary colors
Primary hues
35
Orange, green, and violet. Mixture of two primaries produces a secondary hue. Placed on the color wheel between the two primaries from which they are composed.
Secondary hues
36
Red-orange, yellow-orange, yellow-green, blue-green, blue-violet, red violet.
Intermediate hues
37
Appear to contract and recede. Relative visual temperature makes them seem cool
Cool colors
38
Appear to expand and advance. Visual temperature makes them seem warm
Warm colors
39
A pure hue is used alone with black and or white.
Monochromatic
40
Hues that are neighbors on the color wheel such as yellow-green, green, blue-green.
Analogous
41
Emphasize two hues directly opposite each other on the color wheel, such as red and green.
Complementary
42
Art in which the intention is to represent a particular subject especially pertaining to realistic portrayal of subject matter
Representational art
43
When the human form is the primary subject
Figurative art
44
Objects that representational art depicts
Subjects
45
Real looking paintings, French word for "fool the eye", illusionistic style.
Tromp l'oeil
46
What we see
Form
47
The meaning we get from what we see
Content
48
Symbolic meaning of signs, subjects, and images.
Iconography