Visual Art Flashcards

Question

What are tertiary colours?

Answer 1

a mix of a primary colour with a secondary colour, or a mix of two secondary colours.

Answer 2

are opposite each other on the colour wheel. They are: orange and blue; red and green; purple and yellow.

Answer 3

the one will make the other look brighter.

Answer 4

two primary colours and the secondary colours in-between, For example blue and yellow (the primary parents) and all the greens in-between (children).

Answer 5

red, orange, yellow (remind you of the sun)

Answer 6

blue, green, purple. (remind you of water)

Answer 7

a single colour and its tints and shades

Answer 8

when you add white to a colour.

Answer 9

when you add black to a colour

Answer 10

the brightness or dullness of a colour

Answer 11

the lightness and darkness of a colour.

Answer 12

the basic units that make up any artwork. balance, contrast, emphasis, proportion, pattern, rhythm, unity/harmony and variety

Answer 13

by using the art elements of line, shape and colour

Answer 14

where both sides are the same

Answer 15

where each side is different, but equal

Answer 16

coming out from a central point

Answer 17

when different elements are put next to each other to make something easier to see.

Answer 18

when you put a pale colour next to a dark colour.

Answer 19

rough next to smooth

Answer 20

to make certain parts of the artwork stand out so that they become the focal point or where your eye goes first.

Answer 21

with contrasting shapes, forms or colours; with directional lines to lead the eye, with pattern or details to highlight areas, and with contrast of size to focus attention.

Answer 22

to make something less important than something else. In most artworks the background is subordinated.

Answer 23

the size or position of an object compared to another. For example, an object in the foreground of a picture needs to be much larger than an object in the background.

Answer 24

in the front

Answer 25

In the centre

Answer 26

lines, colours or shapes repeated over and over in a planned way.

Answer 27

when you repeat art elements and create patterns

Answer 28

when different parts of an artwork feel as though they fit and work together

Answer 29

by making something in the artwork look different to the rest. This often makes it more interesting.

Answer 30

Variety, contrast and harmony

Answer 31

rituals, marriages, deaths and initiations ceremonies. Many of the masks are worn by tribesmen and women to communicate with their ancestors.

Answer 32

From natural materials like wood. They are then painted with natural paints and dyes from nature, and decorated with beads, shells, raffia (a type of grass) and flattened metal strips. More elaborate masks are made from ivory and bronze for kings and chiefs. African masks can be a combination of animal and human forms. Many of the masks are made symmetrically.

Answer 33

African masks with bold geometric shapes and patterned lines that were brought to Europe for an exhibition.

Answer 34

an artist from West Africa. He was born in 1962 in Republic of Benin. He uses rubbish that other people discard and creates masks and faces from them. These masks are art works and are displayed in galleries all over the world.

Answer 35

Their masks help protect their identity and often contain some gadgets which aid them in fighting crime, but most important of all is that their mask helps make them identifiable as a superhero. By putting on the mask the hero is assuming a new identity which becomes their alter ego. This person may be completely different to the person underneath.

Answer 36

the ability to ‘read’ a visual text. This can be a painting, sculpture, drawing or even a photograph.

Answer 37

an American comic book artist, writer, and editor Along with Stan Lee, Kirby help create many of the iconic superheroes he was drafted into war a few months after D-Day, honourably discharged with some awards of recognition a few years later. So it’s easy to see where those themes of unabashed patriotism and altruistic heroism would come into play

Answer 38

There was a clear distinction between good and evil, superheroes were do-gooders that battled and always defeated villains motivated by money or world domination. They fulfilled every kid’s dream of gaining powers, overcoming their bullies and adventure. Characteristic of the Golden Age’s idealism, superheroes were often used as a platform for instilling national pride and patriotism in the face of WWII. * Though printed in booklet form, comics did not deviate far from their newspaper ancestors, telling a straightforward story through basic sequential images. * Cartooning was simple as publishers were not yet at the level of investing in or attracting serious artists. * Panels were laid out in basic square grids, often full of more dialogue than imagery

Answer 39

some fans of comic books were returning home from a horrific World War—and the idea of an invincible avenger overcoming the world’s evils became less and less convincing. These factors led to a decline in superhero stories and a rise in comic titles that would appeal to more adult sensibilities— The most successful genre was horror which rescued the industry. The visual styles mimed darker themes, mixing in surrealistic and sometimes disturbing imagery. Morality groups regarded them as tools of the devil. The majority of its readers were adults but the result, of forced censorship, was a growing pains era of artistic experimentation, fast and loose writing and political suppression. * Comics took their inspiration from art movements of the past, most notably surrealism, to illustrate the strange worlds in which their heroes lived. * With comics now established as a lucrative medium, cover images relied less on cheap, attention-grabbing tactics and instead became an artistic representation of the issue’s themes or a protagonist’s state of mind. * Comic books found true artistic expression for the first time in the Pop Art movement, which appropriated commercial objects such as product labels, magazine ads and comics for the purpose of fine art.

Answer 40

Running out of ideas, comics gave its heroes even tougher enemies to confront. It all began with a story in Spider-man in which the hero’s best friend suffers a drug overdose. Spider-man is helpless, and his alter ego, Peter Parker, has no choice but to take the stage, relying on his gifts of persuasion and empathy to save the day. The CCA opposed the inclusion of drug topics, but Marvel published the issue anyway with reader support. This caused the public to lose respect for the CCA and led to the end of censorship, paving the way for darker stories (more on that later). Around this time, writer Chris Claremont revived a cancelled Silver Age series about a group of mutants called the X-men. Adding racially diverse, international characters to its cast, Claremont’s second wave of mutants still had godly powers, but now they were reviled by the public. Echoing the struggles of the Civil Rights Movement, prejudice against the X-men’s genetic traits became the comic’s most enduring theme. While the Golden Age portrayed social topics like World War in typical Golden Age fashion— Bronze Age comics dealt with the gritty realities of urban life in ways that had no real answer. Maybe Captain America could smack Hitler in the face, but how does a superhero attack the intangible foes of bigotry and addiction? As the stories became more focused around gritty, realistic stories, the style of the imagery morphed to match. Art styles of the Bronze Age of comic books * Comics traded in surrealism and experimentation for photorealistic depictions of the urban landscape. * The alter-ego side of the superhero’s life is given more panel time, and sensational costumes took a backseat to depictions of everyday people. * Depth of focus and lighting gave comics a cinematic style, heightening the reader’s emotional connection.

Answer 41

this era was where comic books achieved enlightenment. Here, writers threw all of it out the window and showed us that a comic book hero’s world was just as gritty as the enemies he faced. Stories like “The Dark Knight Returns” and “V for Vendetta” warned of an ominous future no amount of heroism could prevent. Writers crafted characters who were psychologically complex, often dangerously so. Alan Moore’s “The Killing Joke” introduced us to a Joker who was more than a giggling jester but a frighteningly psychotic serial killer. “Watchmen” gave us heroes that were pushed to questionable actions by the very nature of the world they were trying to defend. During this age, the line between hero and villain wasn’t just blurry; writers revealed that it never existed at all. Ironically, as the imagery in these comics was becoming darker and more stylized— playing with lighting and deep, dark, contrasting colours—the genre was thrust out of the shadows of pulp and into the light of literary awareness. The idea of a sustained comic as a single work of literature led to the publication of several graphic novels, culminating in Art The influence of horror can be seen in Venom, with his unhinging jaw of razor teeth and body Comic books were finally regarded as a legitimate art form, as malleable and open to creative expression as any medium. Art styles of the Dark Age of comics * Night was the prominent setting for virtually all stories of this age, leading to an art style that favoured strategic lighting and long shadows. * Similarly, artists took their inspiration from hard-boiled noir films of the 40s and 50s, creating gloomy, dubious worlds of smoke, rain, alleyways and silhouettes. * Silver Age horror comics influenced the Dark Age in a more psychological sense, with disturbing portraits and unnatural angles that created a perpetual sense of unease.

Answer 42

there is no definitive way to categorize the present “age.” Comics have expanded into something without shape or borders— a nebulous mass of nerd wonder. Advanced technology in film, television and video games has created an unstoppable juggernaut of adaptations, leading to an upsurge in comic book readers from all walks of life. Plus, the impact of Image Comics is still being felt, as readers continue their interest in indie books fueled by the industry’s rampant commercialization. No longer restricted to publishing giants Marvel and D.C., writers are free to explore specialty publishers and niche markets, even foregoing traditional distribution channels by publishing their content on the internet. One thing can be said about our current comic book age: it’s a time when the superhero doesn’t have to be heroic or dark or even present at all. Comic books can be as pulpy or Part space opera, part fantasy epic, part romance, Saga’s colourful inking shuttles readers across the galaxy through abstract worlds. as serious or as just plain weird as you want them to be. Like the invincible Superman of the optimistic Golden Age, now is a time when anything is possible. Art styles of the Ageless Age of comics * Advanced technology has led to creative illustrative techniques—everything from digital painting to 3D modelling. * The line between film and comic is now so thin that some series are adapted into motion comics, adding voice actors and animation to the panels with no change to the art itself. * The ubiquity of publishers has led to a wide variety of art styles. Design now varies drastically, depending on the nature of the comic and the choices of the creator (rather than the uniform “in-house” styles of the past).

Answer 43

working in series

Answer 44

to engage deeper with the theme/subject matter.

Answer 45

* What theme is the artist conveying? * Who is the subject matter of the series? * How has the artist used colour and texture to convey their message? * Have you gained a deeper understanding of the message as you looked at the work in series?

Answer 46

The technique of wax reveal scraperboard

Answer 47

ostrich egg shells, as well as on bone and ivory.

Answer 48

a process of scratching a design onto a surface

Answer 49

Mark’s engravings in scratchboard have garnered numerous awards and exhibits and features in the Book Review. His peers at the Society of Illustrators in New York awarded Summers the Hamilton King Award for Best Illustration of the Year in 2000. In 2002 he was selected for the Greenwich Workshop’s David Usher Award. His work regularly appears at the Society’s Annual Juried Shows and Illustration Books, He has also been featured in publications such as Step-By-Step, Graphics, Print, Communication Arts Annual, and Applied Arts. In 1997 Summers was featured in US Airways Attaché in an article written about his striking literary portraits, which could be found nationwide on Barnes & Noble shopping bags, banners and trucks.

Answer 50

Artists are the most important members of the society because they help us to envision our thought that may not be tolerated in the social and political paradigm of our society. ―

Answer 51

(Leonardo da Vinci)

Answer 52

By changing opinions, instilling values and translating experiences across space and time. ... Art is communication; it allows people from different cultures and different times to communicate with each other via images, sounds and stories. Art is often a vehicle for social change. Creative thinkers and makers provide their communities with joy, interaction, and inspiration, but they also give thoughtful critique to our political, economic and social system.

Answer 53

1. Artists help us to see the world in new or innovative ways. 2. Artists make a visual record of the people, places, and events of their time. 3. Artists make functional objects and structures (buildings) more pleasurable and, thereby, elevate them or imbue them with meaning. 4. Artists give form to the immaterial— hidden or universal truths, spiritual forces, and personal feelings.

Answer 54

the production of everyday objects – baskets, jars, pots, etc. but it is also about beauty. This is especially true of pottery where along with appreciation of perfect form, the technical skill of crafting can also be admired especially in the absence of even the simplest of machines like a potter's wheel.

Visual Art Flashcards

(81 cards)