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Intro to Fine Arts > Midterm Terms > Flashcards

Midterm Terms Flashcards

1
Q

The human capacity to make things

of beauty and things that stir us.

A

Ability

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2
Q

The different forms of art such as drawing, painting, sculpting, architecture, and photography.

A

Process

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3
Q

The completed work.

A

Product.

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4
Q

An organized collection of ideas. They tend to originate from commonly held beliefs within a society.

A

Ideology.

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5
Q

Does not only represent external objects. It also challenges the traditional view of the artist as creative visionary, skilled craftsperson, and master of one’s media. The “art”lies in the artist’s conception.

A

Conceptual art.

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6
Q
  • The simplest and the most complex of the elements of art
  • Serves as the basic building block for all art
  • Has the capacity to evoke thoughts and emotions
  • Is thought of as a moving dot
  • Can be used to measure distance
A

Line

Straight, Curved, Vertical, Horizontal, Diagonal, Zigzagged

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7
Q

The creation of the

illusion of roundness or the third dimension through the use of light and shadow.

A

Modeling

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8
Q

The use of a pattern of

dots that thickens and thins.

A

Stippling

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9
Q

using a series of closely

spaced parallel lines to achieve shading.

A

Hatching

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10
Q

a series of lines

that run in a different direction and cross one another.

A

Cross-Hatching

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11
Q

The areas within a composition that

have boundaries separating them from what surrounds them; shapes make those areas distinct

A

Shapes

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12
Q 
the object(s) or figure(s)
that the viewer focuses on
A

Positive Shapes

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13
Q

the empty space (or

the space filled with other imagery) left over in the piece

A

Negative Shapes

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14
Q
  • the relationship

between the positive and negative shapes in a piece.

A

Figure-ground relationship

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15
Q

when the positive

and negative shapes in a piece can be reversed or are ambiguou

A

Figure-ground reversals

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16
Q

part of the spectrum

of electromagnetic energy that we can see.

A

Visible light

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17
Q

The _____ of a color of a surface is its lightness or

darkness.

A

Value

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18
Q

he degrees of difference

between shades of gray.

A

Value contrast

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19
Q

a term for the family of color.

A

hue

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20
Q

colors on the green-blue side of the color wheel.

A

cool

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21
Q

colors on the yellow-orange-red side of the color

wheel

A

warm

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22
Q

the pureness of the color. The purer the

color, the greater its intensity.

A

saturation

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23
Q

adding black to a hue.

A

Shades

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24
Q

adding white to a hue.

A

tint

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25
Q

Color that can not be derived from

the mixing of other colored light.

A

primary colors

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26
Q

created from the overlap or

mixing of 2 primary colors.

A

secondary colors

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27
Q

Used to describe the surface

character of things through the sense of touch

A

Texture

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28
Q

is tactile, texture you can

touch.

A

actual texture

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29
Q

simulated texture. It looks like a texture but can’t really be felt

A

visual texture

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30
Q

texture chosen or

created by the artist to subvert or undermine our ideas about the objects they depict.

A

subversive texture.

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31
Q

the point at which parallel lines cone

together, or converge.

A

vanishing point

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32
Q

the line where the line of sight stops and on

which the artist often places the vanishing point.

A

horizon line

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33
Q

where (or the height) the viewer is

looking from.

A

vantage

34
Q

when parallel lines in a picture

come together at one point, the vanishing point, on the horizon line.

A

one-point perspective

35
Q

when parallel lines in a picture

come together at 2 different points on the horizon line.

A

two-point perspective

36
Q

a style of art that “stops

time”in order to imply motion

A

stopped time

37
Q

some works

try to imply that motion or time has occurred.

A

time implied & motion implied

38
Q

Oneness or Wholeness

A

Unity

39
Q

refers to the
distribution of weight, whether
actual or visual, in a composition.

A

balance

40
Q

means that the piece of art is literally balanced. It can stand upright on its own.

A

actual balance

41
Q

refers to the distribution of the apparent or visual weight of the elements in works that
are basically 2D.

A

pictorial balance

42
Q

is created with visual weight.If the visual elements are arranged to create a asymmetrical composition and the work looks balanced, it is asymmetrically
balanced.

A

asymmetrical balance

43
Q

the point at which all elements or aspects converge; center of activity or attention

A

Focal point

44
Q

The orderly repetition or progression of visual elements in a work of art

A

rhythm

45
Q

The relative size of an object compared to other objects, the setting, or people.

A

scale

46
Q

The use of relative size to indicate the relative importance of the objects or people being depicted

A

hierarchial scale

47
Q

The relationship of the size of the parts to the whole

A

proportion

48
Q

A set of rules about the body parts and their dimensions relative to one another that became the standard for creating the ideal figure

A

the canon of proportions

49
Q

The small part of a work should relate to a larger part of the work as the larger part relates to the whole.

A

golden mean

50
Q

a rectangle base on the measurements of the golden rectangle

A

Golden Rectangle

51
Q

is the portrayal of people and things as they are seen by the eye or as they are thought to be without idealization, without distortion.

A

realism

52
Q

(with a capital R) also defines a specific school of art that flowered during the mid-nineteenth century in France.

A

Realism

53
Q

presents natural objects in a recognizable manner, although not a realistic form

A

representational art

54
Q

is defined as art that portrays, however altered or distorted, things perceived in the visible world.

A

representational art or figurative art.

55
Q

form and color are freely distorted by the artist in order to achieve a heightened emotional impact

A

expressionistic art

56
Q

The study of the themes and symbols in the visual arts.

A

Iconography

57
Q

process of working out an idea (espcially pre-photography)

A

recording

58
Q

artist working out an idea, experimentation

A

planning

59
Q

Derives from the Italian work cartone meaning paper.

Originally, cartoons were full-scale preliminary drawings done on paper for projects such as fresco paintings

A

cartoon

60
Q

a crayon made of powdered pigments bound with gum or resi

A

pastels

61
Q

The gross exaggeration and distortion of natural features to ridicule a social or
political target.

A

caricature

62
Q

Painting on Plaster

A

Fresco

63
Q

Painting on damp, lime plaster

A

buon fresco

64
Q

Painting on dry plaster

A

Fresco secco

65
Q

(particles of color) in a wax vehicle (liquid in which particles of pigment are suspended) that has been heated to a liquid state. This is one of the earliest methods of applying color to a surface.

A

Encaustic

66
Q

Ground Pigments mixed in a vehicle of egg yolks.

A

Tempera

67
Q

Pigment in a plastic vehicle

A

acrylic

68
Q

Transparent films of paint are applied to a white, absorbent surface

A

watercolor or aquarelle

69
Q

Watercolor mixed with a white pigment.

A

gouache

70
Q

Combination of traditional painting techniques with other materials or painting on unusual supports

A

mixed media

71
Q

A design or image is created on a surface or a matrix. Matrixes includes: wood blocks metal plates stone slabs and silkscreen

A

Printmaking

72
Q

The design is carved into a surface.
The parts that are to be printed remain raised.
The parts not to be printed are below the surface.

A

Relief Printing

73
Q

prints are created by using metal plates into which lines have been incised.

A

intaglio

74
Q

is created when an artist creates clean-cut lines on a metal plate.

A

engraving

75
Q

a type of engraving which a needle is dragged across the surface created a burred or rough edge to each line.

A

drypoint

76
Q

using a chemical process to incise lines into the surface

A

etching

77
Q

aquatint is so called because of its ability to produce tones reminiscent of watercolor washes.

A

aquatint

78
Q

based on the principle that grease and water repel each other.

A

lithography

79
Q

Stencils are used to create the design or image. These images can be rendered in ink or paint.

A

silkscreen printing

80
Q

yields a single image and therefore, like painting and drawing, creates a unique work of art.

A

monotype

Intro to Fine Arts (1 decks)

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