Chapter 4 Flashcards

(53 cards)

1
Q

the elements of line that are parallel to the horizon. They do not slant. They are geometric, hard, and impersonal.

A

Horizontal lines

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2
Q

the elements of line that start from the bottom going up and vice versa. They do not lean. They show strength, balance, and stability.

A

Vertical lines

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3
Q

the elements of line that is between a vertical and horizontal line. They look as if they are either rising or falling and have both positive and negative implications.

A

Diagonal lines

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4
Q

an element of lines that is completed from a mixture of diagonal lines. It indicates chaos, conflict and confusion.

A

Zigzag lines

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5
Q

the elements of line that are organic and natural and adjust direction regularly

A

Curved lines

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6
Q

the artists intentionally shows the line in an artwork

A

Actual lines

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7
Q

used by the artists to make the viewer feel their involvement in interpreting the composition.

A

Implied lines

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8
Q

most expressive element of art. It shares powerful connection with emotions.

A

Color

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9
Q

pertains to the name for which the color is known. It is determined by the wavelength of light physically given by the color.

A

Hue

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10
Q

refers to the lightness or darkness of a color. It pertains to the absence of white an black.

A

Value

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11
Q

refers to how pure the color is

A

Intensity or Saturation

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12
Q

3 primary colors in the color wheel

A

red, yellow and blue

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13
Q

3 primary colors in colors of light

A

red, blue, and green

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14
Q

these colors result from the combination of two primary colors in equal amounts.

A

Secondary Colors

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15
Q

these colors can result from a combination of primary and secondary colors.

A

Intermediate colors

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16
Q

colors associated with sun and fire

A

Warm colors

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17
Q

colors associated with air, sky, and earth

A

Cool Colors

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18
Q

these shapes are rectilinear. they are regular and precise and present an industrial feel to the viewer.

A

Geometric shapes

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19
Q

these shapes are said to have a natural appearance and are usually curvilinear and irregular.

A

Organic shapes

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20
Q

these shapes manifest some qualities of biological organisms

A

Biomorphic

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21
Q

these shapes exist without any basis from either nature or geometry.

A

Amorphous

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22
Q

physical manipulation of the two-dimensional surface.

A

Picture plane

23
Q

it gives the viewer two images of the object then physiologically merges them into one image.

A

Retinal Disparity

24
Q

this involves the movements of the eyes when looking at or viewing the object.

A

Kinesthetic vision

25
objects that are big will be perceived as near compared with the objects that are far.
Relative size and Linear perspective
26
also known as aerial perspective. Illusion of depth is created by techniques known as gradient.
Atmospheric Perspective
27
technique of using light and shadow in painting
Chiaroscuro
28
gradual blending of light and shadow gave the figures in a composition a more realistic form and depth
sfumato
29
derived from the latin word "weaving", refers to the feel of the surface of the woven fabrics.
Texture
30
refers to the real feel and look of the surface of the object.
Actual Texture
31
refers to a surface character that looks real but is not.
Simulated texture
32
artist would focus on one aspect of the real texture and emphasize it
Abstract texture
33
product of the artists imagination.
Invented texture
34
in this type of artwork, artist incorporates actual movement in art known as kinetic art.
Actual Movement
35
a variety of lines used together with some degree of repetition, changes in position, scale or size of the objects to create perception of movement or passing time.
Implied movement
36
a technique of creating optical sensations through repetition and manipulation of color, shape, and line.
Op Art
37
an artwork analysis in which there is a credit line, which lists important facts about a work of art.
Semiotic
38
an artwork analysis on how the artists describe the subject.
Iconic
39
an artwork analysis that may contain references and allusions, direct or indirect.
Contextual
40
commonly known as the basic knowledge in composition that most photographers use when they are placing items within the frame for their masterpiece.
The Rule of Thirds
41
one of the principles of design that is classified into three: symmetrical, asymmetrical, and radial.
Balance
42
also known as formal balance, two equal parts of the pictorial plane of an artwork placed like mirror images of each other.
Symmetrical
43
also known as informal balance, elements that do not reflect one another
Asymmetrical
44
balance where all element radiate out from a center point in a circular fashion.
Radial symmetry
45
in the principles of design, this can be described as sameness, the belonging of one thing with another.
Harmony
46
size relationship of forms and shapes
Proportion
47
happens when an artists create an area of composition that is visually dominant and commands the viewers attention.
Dominance/Emphasis
48
refers to a way of combining visual elements to achieve intricate and complex relationships.
Variety
49
moves the viewers eye around and within the image
movement
50
this is a continuance, a flow, or a feeling of movement
Rhythm
51
a type of music that is often involves the use of electric instruments to enhance vocal sounds.
Popular music
52
a type of music that uses pure sound.
Classical Music
53