LESSON 6 (PRE-FINALS) ELEMENTS OF ARTS: VISUAL

Question 1

Akin to the atoms that are defined as the units or “building blocks” of matter.

Answer 1

Elements of Art: Visual

Question 2

are the aspects of an artwork that can be isolated from each other. When they are joined together, they have the ability to create an artwork.

Answer 2

Elements of art

Question 3

These elements of arts are generally produced when something is done to the medium after the technique is carried out. Elements are the necessary preconditions for the creation of art. ‘

Answer 3

Elements of Art: Visual

Question 4

It refers to a point moving at an identifiable path- it has length and direction. It also has width. It is one-dimensional, but has the capacity to either define the parameters of the artwork (edges) and/or become a substantial component of the composition.

Answer 4

Line

Question 5

Although, it is simple, it has variations in view of its orientation/direction, shape and thickness. These variations suggest meaning or message being conveyed by the artist.

Answer 5

Line

Question 6

He first executed the public mural “Todos juntos podemos parar el sida” (Together We Can Stop Aids) in Barcelona in 1989. In 2014, it was recreayed at the foyer of the Museu d’ Art Contemporani de Barcelona (Barcelona Museum of Contemporary Art) to commemorate it.

Answer 6

Keith Haring

Question 7

A quality that is ascribed to _________ is its ability to direct the eyes to follow movement or provide hints as to a work’s focal point.

Answer 7

Lines

Question 8

refers to the orientation with rest or calm.

Answer 8

Horizontal (left to right) and Vertical (from top to bottom)

Question 9

often contain these elements as works like these often connote a visual sense of being parallel to the ground. It also alludes to position of the reclined body at rest.

Answer 9

Landscapes/Horizontal

Question 10

connote elevation or height, which is usually taken to mean exaltation or aspiration for action. Together, these lines communicate stability and firmness.

Answer 10

Vertical Lines

Question 11

convey movement and instability, although the progression can be seen.

Answer 11

Diagonal Lines

Question 12

are reminiscent of violence, conflict or struggle.

Answer 12

Crooked or jagged lines

Question 13

known for his prints, a master of etched works and use of aquatint . He use this medium to articulate his political views about the ills of societies, war scenes and even dreamlike and grotesque while still engaging with what was happening around him .

Answer 13

Francisco De Goya

Question 14

In this artwork, it can be seen that lines may not necessarily explicit or literally shown . The position and orientation of the bodies that are aboard the raft are predominantly diagonal in direction . This creates not only movement but also tension in the scene . This painting depicts the 1816 wreckage of the French government ship called Medusa .

Answer 14

Theodore Gericault’s “The Raft of Medusa”

Question 15

These two are related to each other in the sense that they define the space occupied by the object of art.

Answer 15

Shape and Form

Question 16

refers to two dimensions: height and width, while form refers to three dimensions: height , width and depth

Answer 16

Shape

Question 17

These shapes find origin in mathematical propositions . As such, its translation and use are often man-made. These include shapes such as squares, triangles, cubes, circles, spheres and cones.

Answer 17

Geometric

Question 18

These are readily occurring in nature, often irregular and asymmetrical. Example is the design of a vase which made use of morning glories.

Answer 18

Organic

Question 19

It is usually inferred from a sense of depth, whether it is real or simulated. Real space is three-dimensional. Sculptures are a perfect examples of artworks that bear this element. However, this can only be manifested in two-dimensional artworks through the use of different techniques, or the use (or non-use) of area around a drawing or picture.

Answer 19

Space

Question 20

can be stimulated through a variety of techniques such as shading. An illusion of this can be achieved into a two-dimensional work.

Answer 20

Three-dimensional space

Question 21

identified with the white space is the

Answer 21

Negative Space

Question 22

is the space where the shadow is heavily used.

Answer 22

Positive Space

Question 23

This is located in Chicago, Illinois . It occupies a considerable space . Shaped like a bean, hence its other referent, the public sculpture was unveiled in 2004 . The dent in the middle offers a gap in which people can pass through and gaze at the sculpture in a different perspective .

Answer 23

Anish Kapoot’s “Cloud Gate” (2004)

Question 24

It is perhaps one of the elements that enhances the appeal of an artwork. Its effect has range, allowing the viewer to make responses based on memory, emotion and instinct .

Answer 24

Color

Question 25

This element is a property of light, as its reflected off the object. Color is not intrinsic to an object and without light, one cannot perceive color.

Answer 25

Color

Question 26

Much of the colors begin with the notion of a ________ that was first unraveled by the experiments undertaken by Sir Isaac Newton in 1666.

Answer 26

Color Theory

Question 27

This dimension of color gives its name.

Answer 27

Hue

Question 28

red, yellow and blue

Answer 28

Primary Colors

Question 29

green (yellow & blue) - orange (red & yellow) - violet ( blue & red)

Answer 29

Secondary Colors

Question 30

six in total, and achieved when primary and secondary colors are mixed.

Answer 30

Tertiary Colors

Question 31

It refers to the rightness or darkness of color. Often, this is used by artists to create the illusion of depth and solidity, a particular mood, communicate a feeling, or in establishing a scene.

Answer 31

Value

Question 32

are taken as the source of light in the composition

Answer 32

Light Colors

Question 33

are the lack of even absence of light.

Answer 33

Dark Colors

Question 34

is the lighter color than normal value (pink for red)

Answer 34

Tint

Question 35

is a darker color than the normal ( maroon for red)

Answer 35

Shade

Question 36

It refers to the color’s brightness or dullness. It is identified as the strength of color , whether it is vivid or muted.

Answer 36

Intensity

Question 37

positive energy

Answer 37

Bright or warm Colors

Question 38

sedate/soothing, seriousness or calm.

Answer 38

Dull or Cool Colors

Question 39

To better understand intensity of color, __________ are to be considered.

Answer 39

Color Harmonies

Question 40

are also integral considerations not only for pictorial arts but also for other art forms.

Answer 40

Color Harmonies

Question 41

use the variations of a hue

Answer 41

Monochromatic Harmonies

Question 42

involve two colors opposite each other in the color wheel. Since they are at contrary positions, the reaction is more intense. In this piece, Saint Lucy, patron of the blind, whose red and green garb beautifully showcases an example of this harmony.

Answer 42

Complementary Harmonies

Question 43

make use of two colors beside each other in the color wheel.

Answer 43

Analogous Harmonies

Question 44

make use of three colors from equidistant sites within the color wheel.

Answer 44

Triadic harmonies

Question 45

would bring oneself to ask: Did Munch depict a romantic sunset or a warning of a coming horrors? The clue is in the face of the man himself that is prominent in the painting. Meaning, colors and imagery work together to deliver a message.

Answer 45

Edvard Munch’s “The Scream”

Question 46

can be either real or implied. This can be experienced through the sense of touch (and sight). This element renders the art object tactile.

Answer 46

Texture

Question 47

It is commonly associated with textiles

Answer 47

Texture

Question 48

can be implied using one technique or a combination of other elements of art. By creating the visual quality in the artwork, one can imagine how the surface will feel if it was to be touched. Some of the words used to describe texture are the following: rough or smooth, hard or soft, hairy, leathery, sharp or dull.

Answer 48

Textures in the two-dimensional plane (paintings)

Question 49

In this portrait, garb is adorned in opulent bead and stitch work that are befitting her rank.

Answer 49

Frans Pourbus the Younger "Margherita Gonzaga, Princess of Mantua"

Question 50

refers to the texture of the three-dimensional (Sculpture) art object.

Answer 50

Surface Texture

Question 51

The elements of art make it possible to engage with the visual and tactile qualities of the artwork through a “common language” that may be widely understood.

Answer 51

Texture

Question 52

is the actual surface of the painting or drawing, where no illusion of a third dimension exists

Answer 52

Picture Plane

Question 53

During the Renaissance (15th Century) , _________ was developed. It made use of light and dark contrasts and tones in which paintings not only looked three-dimensional , but also more dramatic.

Answer 53

Chiaroscuro

Question 54

changed the way pictorial representation was done. Its early proponents include Leon Battista Alberti, Paolo Uccello and architect Filippo Brunelleschi in the early 15th Century

Answer 54

Linear Perspective

Question 55

As forms and objects recede (moves away) , ___________

Answer 55

the smaller they become.

Question 56

We were taught that parallel lines ( I I ) never meet. However, when they , too, seem to converge when they recede into a distance, at a point, they both disappear. This point of disappearance is called the ________

Answer 56

Vanishing Points

Question 57

often used in depicting roads, tracks, hallways or row of trees; this type of perspective shows parallel lines that seem to converge at a specific and lone vanishing point, along the horizon line.

Answer 57

One point Perspective

Question 58

pertains to a painting or drawing that makes use of two-vanishing points, when can be placed anywhere along the horizon line. It is often used in depicting structures such as houses or buildings in the landscape that are viewed from a specific corner.

Answer 58

Two-point perspective

Question 59

in this type of perspective, the viewer is looking at a scene from above or below. It makes use of the three-vanishing points, each corresponding to each axis of the scene.

Answer 59

Three-point Perspective