Wk 3: Media and processes Flashcards
1
Q
Background
A
the part of a work depicted furthest from the viewer’s space, often behind the main subject matter (See Chapter 2.1, page 197)
2
Q
Binder
A
a substance that makes pigments adhere to a surface (See Chapter 2.1, page 201)
3
Q
Cast
A
a sculpture or artwork made by pouring a liquid (for example molten metal or plaster) into a mold (See Chapter 2.1, page 206)
4
Q
Color
A
the optical effect caused when reflected white light of the spectrum is divided into separate wavelengths (See Chapter 2.1, page 197)
5
Q
Composition
A
the overall design or organization of a work (See Chapter 2.1, page 206)
6
Q
Conceptual art
A
a work in which the communication of an idea or group of ideas are most important to the work (See Chapter 2.1, page 201)
7
Q
Contour
A
the outline that defines a form (See Chapter 2.1, page 206)
8
Q
Contrast
A
a drastic difference between such elements as color or value (lightness/darkness) when they are presented together (See Chapter 2.1, page 199)
9
Q
Cross-hatching
A
the use of overlapping parallel lines to convey darkness or lightness (See Chapter 2.1, page 197)
10
Q
Emphasis
A
the principle of drawing attention to particular content within a work (See Chapter 2.1, page 197)
11
Q
Expressive
A
capable of stirring the emotions of the viewer (See Chapter 2.1, page 199)
12
Q
Foreground
A
the part of a work depicted as nearest to the viewer (See Chapter 2.1, page 201)
13
Q
Fresco
A
a technique in which the artist paints onto freshly applied plaster. From the Italian, fresh (See Chapter 2.1, page 195)
14
Q
Ground
A
the surface or background onto which an artist paints or draws (See Chapter 2.1, page 197)
15
Q
Hatching
A
the use of non-overlapping parallel lines to convey darkness or lightness (See Chapter 2.1, page 197)
16
Q
Highlight
A
an area of lightest value in a work (See Chapter 2.1, page 199)
17
Q
Medium (plural media)
A
the material on or from which an artist chooses to make a work of art (See Chapter 2.1, page 195)
18
Q
Outline
A
the outermost line or implied line of an object or figure, by which it is defined or bounded (See Chapter 2.1, page 206)
19
Q
Pigment
A
the colorant in art materials. Often made from finely ground minerals (See Chapter 2.1, page 197)
20
Q
Plane
A
a flat, two-dimensional surface on which an artist can create a drawing or painting. Planes can also be implied in a composition by areas that face toward, parallel to, or away from a light source (See Chapter 2.1, page 206)
21
Q
Renaissance
A
a period of culture and artistic change in Europe from the fourteenth to the seventeenth century (See Chapter 2.1, page 195)
22
Q
Rhythm
A
the regular or ordered repetition of elements in the work (See Chapter 2.1, page 206)
23
Q
Sketch
A
a rough preliminary version of a work or part of a work (See Chapter 2.1, page 192)
24
Q
Subject matter, subject
A
the person, object, or space depicted in a work of art (See Chapter 2.1, page 199)
25
Texture
the surface quality of a work, for example fine/coarse, detailed/lacking in detail (See Chapter 2.1, page 197)
26
Tooth
the textural quality of a paper surface for holding drawing media in place (See Chapter 2.1, page 199)
27
Value
the lightness or darkness of a plane or area (See Chapter 2.1, page 197)
28
Acrylic
a liquid polymer, or plastic, which is used as a binder for pigment in acrylic paint (See Chapter 2.2, page 221)
29
Altarpiece
an artwork that is placed behind an altar in a church (See Chapter 2.2, page 214)
30
Artist's book
a book produced by an artist, usually an expensive limited edition, often using specialized printing processes (See Chapter 2.2, page 220)
31
Background
the part of a work depicted furthest from the viewer's space, often behind the main subject matter (See Chapter 2.2, page 215)
32
Baroque
European artistic and architectural style of the late sixteenth to early eighteenth century, characterized by extravagance and emotional intensity (See Chapter 2.2, page 218)
33
Binder
a substance that makes pigments adhere to a surface (See Chapter 2.2, page 209)
34
Color
the optical effect caused when reflected white light of the spectrum is divided into separate wavelengths (See Chapter 2.2, page 209)
35
En plein air
French for "in the open air"; used to describe painting out of doors from start to finish rather than working in a studio for all or part of the process (See Chapter 2.2, page 220)
36
Encaustic
a painting medium that primarily uses wax, usually beeswax, as the binding agent (See Chapter 2.2, page 210)
37
Expressive
capable of stirring the emotions of the viewer (See Chapter 2.2, page 218)
38
Foreground
the part of a work depicted as nearest to the viewer (See Chapter 2.2, page 212)
39
Found image or object
an image or art object found by an artist and presented, with little or no alteration, as part of a work or as a finished work of art (See Chapter 2.2, page 222)
40
Fresco
a technique in which the artist paints onto freshly applied plaster. From the Italian fresco, "fresh" (See Chapter 2.2, page 210)
41
Gouache
a type of paint medium in which pigments are bound with gum and a white filler added (for example, clay) to produce a paint that is used for opaque watercolor (See Chapter 2.2, page 220)
42
Graffiti
markings that are scratched, scribbled, or sprayed on a wall without the consent of the owner (See Chapter 2.2, page 222)
43
Grisaille
painting in gray or grayish monochrome, either as a base or underpainting for the finished work, or as the final artwork itself (See Chapter 2.2, page 216)
44
Impasto
paint applied in thick layers (See Chapter 2.2, page 218)
45
Impressionism
a late nineteenth-century painting style conveying the impression of the effects of light; Impressionists were painters working in this style (See Chapter 2.2, page 216)
46
Luminosity
a bright, glowing quality (See Chapter 2.2, page 216)
47
Mask
in spray painting or silkscreen printing, a barrier, the shape of which blocks the paint or ink from passing through (See Chapter 2.2, page 224)
48
Medium (plural media)
the material on or from which an artist chooses to make a work of art (See Chapter 2.2, page 209)
49
Naturalism
a very realistic or lifelike style of making images (See Chapter 2.2, page 210)
50
Opaque
not transparent (See Chapter 2.2, page 220)
51
Painterly
a loosely executed style in which paint and brushstrokes are evident (See Chapter 2.2, page 214)
52
Pigment
the colorant in art materials. Often made from finely ground minerals (See Chapter 2.2, page 209)
53
Polymer
a chemical compound commonly referred to as plastic (See Chapter 2.2, page 209)
54
Renaissance
a period of culture and artistic change in Europe from the fourteenth to the seventeenth century (See Chapter 2.2, page 209)
55
Scale
the size of an object or artwork relative to another object or artwork, or to a system of measurement (See Chapter 2.2, page 209)
56
Stencil
a perforated template allowing ink or paint to pass through to print a design (See Chapter 2.2, page 224)
57
Style
a characteristic way in which an artist or group of artists uses visual language to give a work an identifiable form of visual expression (See Chapter 2.2, page 218)
58
Stylized
art that represents objects in an exaggerated way to emphasize certain aspects of the object (See Chapter 2.2, page 214)
59
Subject matter, subject
the person, object, or space depicted in a work of art (See Chapter 2.2, page 215)
60
Support
the material on which painting is done (See Chapter 2.2, page 210)
61
Tempera
fast-drying painting medium made from pigment mixed with water-soluble binder, such as egg yolk (See Chapter 2.2, page 210)
62
Three-dimensional
having height, width, and depth (See Chapter 2.2, page 218)
63
Translucent
semi-transparent (See Chapter 2.2, page 210)
64
Underpainting
in oil painting, the process of painting the canvas in a base, often monochrome color, as a first step in creating the areas of light and dark value (See Chapter 2.2, page 216)
65
Value
the lightness or darkness of a plane or area (See Chapter 2.2, page 212)
66
Verdaccio
a mixture of black, white and yellow pigments resulting in a grayish or yellowish soft greenish brown. It is used in oil painting, and sometimes in frescoes, as a base layer to refine the values in the work (See Chapter 2.2, page 216)
67
Additive (sculpture)
a sculpting process in which the artist builds a form by adding material (See Chapter 2.4, page 247)
68
Appropriation
the deliberate incorporation in an artwork of material originally created by other artists (See Chapter 2.4, page 254)
69
Armature
a framework or skeleton used to support a sculpture (See Chapter 2.4, page 248)
70
Artifact
an object made by a person (See Chapter 2.4, page 254)
71
Assemblage
artwork made of three-dimensional materials, including found objects (See Chapter 2.4, page 254)
72
Background
the part of a work depicted furthest from the viewer's space, often behind the main subject matter (See Chapter 2.4, page 244)
73
Bas-relief (low relief)
a sculpture carved with very little depth: the carved subjects rise only slightly above the surface of the work (See Chapter 2.4, page 242)
74
Bust
a statue of a person depicting only his or her head and shoulders (See Chapter 2.4, page 244)
75
Cast
a sculpture or artwork made by pouring a liquid (for example molten metal or plaster) into a mold (See Chapter 2.4, page 247)
76
Constructivism
an art movement in the Soviet Union in the 1920s, primarily concerned with making art that supports the working class (See Chapter 2.4, page 252)
77
Contrapposto
a pose in sculpture in which the upper part of the body twists in one direction and the lower part in another (See Chapter 2.4, page 250)
78
Expressive
capable of stirring the emotions of the viewer (See Chapter 2.4, page 249)
79
Found image or object
an image or art object found by an artist and presented, with little or no alteration, as part of a work or as a finished work of art (See Chapter 2.4, page 259)
80
High relief
a carved panel where the figures project with a great deal of depth from the background (See Chapter 2.4, page 244)
81
In the round
a freestanding sculpted work that can be viewed from all sides (See Chapter 2.4, page 242)
82
Installation
originally referring to the hanging of pictures and arrangement of objects in an exhibition, installation may also refer to an intentional environment created as a completed artwork (See Chapter 2.4, page 256)
83
Lintel
the horizontal beam over the doorway of a portal (See Chapter 2.4, page 245)
84
Mass
a volume that has, or gives the illusion of having, weight, density, and bulk (See Chapter 2.4, page 247)
85
Medium (plural media)
the material on or from which an artist chooses to make a work of art (See Chapter 2.4, page 256)
86
Monumental
having massive or impressive scale (See Chapter 2.4, page 252)
87
Patina
surface color or texture on a metal caused by ageing (See Chapter 2.4, page 250)
88
Plane
a flat, two-dimensional surface on which an artist can create a drawing or painting. Planes can also be implied in a composition by areas that face toward, parallel to, or away from a light source (See Chapter 2.4, page 242)
89
Plastic, plasticity
referring to materials that are soft and can be manipulated, or to such properties in the materials (See Chapter 2.4, page 249)
90
Readymade
an everyday object presented as a work of art (See Chapter 2.4, page 254)
91
Relief
a raised form on a largely flat background. For example, the design on a coin is "in relief" (See Chapter 2.4, page 242)
92
Renaissance
a period of culture and artistic change in Europe from the fourteenth to the seventeenth century (See Chapter 2.4, page 242)
93
Sketch
a rough preliminary version of a work or part of a work (See Chapter 2.4, page 247)
94
Space
the distance between identifiable points or planes (See Chapter 2.4, page 252)
95
Stylized
art that represents objects in an exaggerated way to emphasize certain aspects of the object (See Chapter 2.4, page 249)
96
Subtractive (sculpture)
the methodical removal of material to produce a sculptural form (See Chapter 2.4, page 247)
97
Three-dimensional
having height, width, and depth (See Chapter 2.4, page 242)
98
Aesthetic
related to beauty, art, and taste (See Chapter 2.5, page 277)
99
Aisles
in a basilica or other church, the spaces between the columns of the nave and the side walls (See Chapter 2.5, page 267)
100
Aqueduct
a structure designed to carry water, often over long distances (See Chapter 2.5, page 267)
101
Arches
structures, usually curved, that span an opening (See Chapter 2.5, page 265)
102
Axis
an imaginary line showing the center of a shape, volume, or composition (See Chapter 2.5, page 270)
103
Baroque
European artistic and architectural style of the late sixteenth to early eighteenth century, characterized by extravagance and emotional intensity (See Chapter 2.5, page 265)
104
Base
the projecting series of blocks between the shaft of a column and the surface where it rests (See Chapter 2.5, page 265)
105
Cantilever
a long support that projects out from a structure beyond a support (See Chapter 2.5, page 272)
106
Capital
the architectural feature that crowns a column (See Chapter 2.5, page 264)
107
Central-plan church
church design, often in the shape of a cross with all four arms of equal length (See Chapter 2.5, page 273)
108
Clerestory windows
a row of windows high up in a church to admit light into the nave (See Chapter 2.5, page 270)
109
Column
freestanding pillar, usually circular in section (See Chapter 2.5, page 263)
110
Composition
the overall design or organization of a work (See Chapter 2.5, page 261)
111
Corbeled
with a series of corbels—architectural feature made of stone, brick, wood, etc.—each projecting beyond the one below (See Chapter 2.5, page 265)
112
Cornice
horizontally projecting molding round the top of a building (See Chapter 2.5, page 277)
113
Cubism, Cubist
twentieth-century movement and style in art, especially painting, in which perspective with a single viewpoint was abandoned and use was made of simple geometric shapes, interlocking planes, and, later, collage; the Cubists were artists who formed part of the movement. "Cubist" is also used to describe their style of painting (See Chapter 2.5, page 261)
114
Dome
an evenly curved vault forming the ceiling or roof of a building (See Chapter 2.5, page 270)
115
Emphasis
the principle of drawing attention to particular content within a work (See Chapter 2.5, page 269)
116
Expressive
capable of stirring the emotions of the viewer (See Chapter 2.5, page 280)
117
Facade
any side of a building, usually the front or entrance (See Chapter 2.5, page 281)
118
Flying buttress
an arch built on the exterior of a building that transfers some of the weight of the vault (See Chapter 2.5, page 269)
119
Form
an object that can be defined in three dimensions (height, width, and depth) (See Chapter 2.5, page 259)
120
Groin vault
an architectural feature created by the intersection of two vaults (See Chapter 2.5, page 269)
121
Modernist, Modernism
a radically new twentieth-century art and architectural movement that embraced modern industrial materials and a machine aesthetic (See Chapter 2.5, page 276)
122
Monumental
having massive or impressive scale (See Chapter 2.5, page 262)
123
Nave
the central space of a cathedral or basilica (See Chapter 2.5, page 269)
124
Negative space
an unoccupied or empty space that is created after positive shapes are positioned in a work of art (See Chapter 2.5, page 281)
125
Organic
having irregular forms and shapes, as though derived from living organisms (See Chapter 2.5, page 279)
126
Pediment
the triangular space, situated above the row of columns, on the facade of a building in the Classical style (See Chapter 2.5, page 281)
127
Pendentive
a curving triangular surface that links a dome to a square space below (See Chapter 2.5, page 270)
128
Pointed arches
arches with two curved sides that meet to form a point at the apex (See Chapter 2.5, page 269)
129
Portico
a roof supported by columns at the entrance to a building (See Chapter 2.5, page 281)
130
Post-and-lintel construction
a horizontal beam (the lintel) supported by a post at either end (See Chapter 2.5, page 263)
131
Postmodernism, Postmodernist
late twentieth-century movement in art, architecture, and criticism responding to Modernism (c. 1860–1960) with a distrust of grand narratives and questioning the very nature of art by acknowledging the constructed nature of reality and experience (See Chapter 2.5, page 281)
132
Renaissance
a period of culture and artistic change in Europe from the fourteenth to the seventeenth century (See Chapter 2.5, page 265)
133
Rib vault
an arch-like structure supporting a ceiling or roof, with a web of protruding stonework (See Chapter 2.5, page 269)
134
Rococo
an eighteenth-century style in France characterized by organic forms, ornate extravagance, and whimsy (See Chapter 2.5, page 273)
135
Romanesque
an early medieval European style of architecture based on Roman-style rounded arches and heavy construction (See Chapter 2.5, page 267)
136
Shaft
the main vertical part of a column (See Chapter 2.5, page 265)
137
Span
the distance bridged between two supports, such as columns or walls (See Chapter 2.5, page 262)
138
Stained glass
colored glass used for windows or decorative applications (See Chapter 2.5, page 269)
139
Stylized
art that represents objects in an exaggerated way to emphasize certain aspects of the object (See Chapter 2.5, page 281)
140
Texture
the surface quality of a work, for example fine/coarse, detailed/lacking in detail (See Chapter 2.5, page 261)
141
Vault
an arch-like structure supporting a ceiling or roof (See Chapter 2.5, page 267)
142
Abstract
art imagery that departs from recognizable images of the natural world (See Chapter 2.6, page 296)
143
Alloy
a mixture of a metal combined with at least one other element (See Chapter 2.6, page 292)
144
Background
the part of a work depicted furthest from the viewer's space, often behind the main subject matter (See Chapter 2.6, page 291)
145
Bisqueware
a ceramic form that has been fired but not glazed or that has not received other surface finishing (See Chapter 2.6, page 287)
146
Ceramist
a person who makes ceramics (See Chapter 2.6, page 285)
147
Chasing
a technique of hammering the front of a metal object to create a form or surface detail (See Chapter 2.6, page 293)
148
Chilkat
a traditional form of weaving practiced by Tlingit and other Northwest Coast peoples of Alaska and British Columbia (See Chapter 2.6, page 296)
149
Contrast
a drastic difference between such elements as color or value (lightness/darkness) when they are presented together (See Chapter 2.6, page 292)
150
Expressionism, Expressionist
an artistic style, at its height in 1920s Europe, devoted to representing subjective emotions and experiences instead of objective or external reality (See Chapter 2.6, page 291)
151
Gothic
Western European architectural style of the twelfth to sixteenth century, characterized by the use of pointed arches and ornate decoration (See Chapter 2.6, page 291)
152
Greenware
a clay form that has been shaped and dried, but not yet fired to become ceramic (See Chapter 2.6, page 287)
153
Illusionism, Illusionistic
the artistic skill or trick of making something look real (See Chapter 2.6, page 297)
154
Intarsia
the art of setting pieces of wood into a surface to create a pattern (See Chapter 2.6, page 297)
155
Medium (plural media)
the material on or from which an artist chooses to make a work of art (See Chapter 2.6, page 285)
156
Mesoamerican
an archaeological term referring to people or objects from the area now occupied by Mexico and Central America (See Chapter 2.6, page 289)
157
Organic
having irregular forms and shapes, as though derived from living organisms (See Chapter 2.6, page 288)
158
Plane
a flat, two-dimensional surface on which an artist can create a drawing or painting. Planes can also be implied in a composition by areas that face toward, parallel to, or away from a light source (See Chapter 2.6, page 291)
159
Plastic, plasticity
referring to materials that are soft and can be manipulated, or to such properties in the materials (See Chapter 2.6, page 287)
160
Renaissance
a period of culture and artistic change in Europe from the fourteenth to the seventeenth century (See Chapter 2.6, page 285)
161
Repoussé
a technique of hammering metal from the back to create a form or surface detail (See Chapter 2.6, page 293)
162
Stained glass
colored glass used for windows or decorative applications (See Chapter 2.6, page 291)
163
Texture
the surface quality of a work, for example fine/coarse, detailed/lacking in detail (See Chapter 2.6, page 287)
164
Three-dimensional
having height, width, and depth (See Chapter 2.6, page 288)
165
Throwing
the process of making a ceramic object on a potter's wheel (See Chapter 2.6, page 287)
166
Value
the lightness or darkness of a plane or area (See Chapter 2.6, page 297)
167
Abstract
art imagery that departs from recognizable images of the natural world (See Chapter 2.8, page 321)
168
Additive color process
creates colors by mixing RGB colors on a screen to create a direct positive print; same principle used in LED, LCD, plasma, and CRT video screens (See Chapter 2.8, page 322)
169
Autochrome
early additive color photography process patented by the Lumière Brothers in 1904 and primarily used from 1907 to the 1930s (See Chapter 2.8, page 322)
170
Background
the part of a work depicted furthest from the viewer's space, often behind the main subject matter (See Chapter 2.8, page 326)
171
Baroque
European artistic and architectural style of the late sixteenth to early eighteenth century, characterized by extravagance and emotional intensity (See Chapter 2.8, page 321)
172
Chromogenic prints (c-prints)
most widespread color process until digital prints; dyes couple with developers to create a negative image, reversed to make positive prints (See Chapter 2.8, page 323)
173
Collage
a work of art assembled by gluing materials, often paper, onto a surface. From the French coller, to glue (See Chapter 2.8, page 326)
174
Collodion (wet plate) process
black-and-white darkroom photography process invented by Frederick Scott Archer in 1850–51 and popular until the 1880s (See Chapter 2.8, page 320)
175
Color
the optical effect caused when reflected white light of the spectrum is divided into separate wavelengths (See Chapter 2.8, page 317)
176
Composition
the overall design or organization of a work (See Chapter 2.8, page 330)
177
Cyanotype
photographic process using light-sensitive iron salts that oxidize and produce a brilliant blue color where light penetrates and remain white where light is blocked; a variant of this process was used historically to copy architectural drawings (See Chapter 2.8, page 318)
178
Dada
anarchic anti-art and anti-war movement, dating back to World War I, that reveled in absurdity and irrationality (See Chapter 2.8, page 327)
179
Developer
after an image has been recorded on light-sensitive film or photographic paper (usually in a camera), immersion in this liquid substance chemically transforms a latent (or invisible) image into a visible one (See Chapter 2.8, page 317)
180
Fixing
the chemical process used to ensure a photographic image becomes permanent (See Chapter 2.8, page 317)
181
Foreground
the part of a work depicted as nearest to the viewer (See Chapter 2.8, page 320)
182
Form
an object that can be defined in three dimensions (height, width, and depth) (See Chapter 2.8, page 321)
183
Gelatin silver print process (or silver gelatin)
process for making glossy black-and-white photographic prints in the darkroom based on silver halide gelatin emulsions (See Chapter 2.8, page 321)
184
Hand-tint
early process for adding color to monochrome photographic products by adding pigment in a manner very much like painting (See Chapter 2.8, page 322)
185
Kodachrome
created by Kodak Research Laboratories, Kodachrome is a subtractive reversal process for making color photographic film slides (See Chapter 2.8, page 323)
186
Negative
a reversed image, in which light areas are dark and dark areas are light (opposite of a positive) (See Chapter 2.8, page 315)
187
Photomontage
a single photographic image that combines (digitally or using multiple film exposures) several separate images (See Chapter 2.8, page 326)
188
Positive
an image in which light areas are light and dark areas are dark (opposite of a negative) (See Chapter 2.8, page 315)
189
Postmodernism, Postmodernist
late twentieth-century movement in art, architecture, and criticism responding to Modernism (c. 1860–1960) with a distrust of grand narratives and questioning the very nature of art by acknowledging the constructed nature of reality and experience (See Chapter 2.8, page 327)
190
Proportion
the relationship in size between a work's individual parts and the whole (See Chapter 2.8, page 326)
191
RGB
additive system that mixes color based on the primary colors of light: red, green, and blue (See Chapter 2.8, page 322)
192
Rhythm
the regular or ordered repetition of elements in the work (See Chapter 2.8, page 330)
193
Scale
the size of an object or artwork relative to another object or artwork, or to a system of measurement (See Chapter 2.8, page 326)
194
Shape
a two-dimensional area, the boundaries of which are defined by lines or suggested by changes in color or value (See Chapter 2.8, page 330)
195
Soft focus
deliberate blurring of the edges or lack of sharp focus in a photograph or movie (See Chapter 2.8, page 321)
196
Subject matter, subject
the person, object, or space depicted in a work of art (See Chapter 2.8, page 315)
197
Subtractive color process
colors subtracted from white light by CMY dyes or pigments; in photography light-sensitive film or paper absorbs the opposite colors of cyan, magenta, and yellow dyes to create a negative image, reversed to make a positive print (See Chapter 2.8, page 322)
198
Suprematism
Russian art movement of the early twentieth century focused on geometric shapes and limited colors that emphasized feeling over visual phenomena (See Chapter 2.8, page 323)
199
Surreal
reminiscent of the Surrealist movement in the 1920s and later, whose art was inspired by dreams and the subconscious (See Chapter 2.8, page 323)
200
Tableau
a stationary scene arranged for artistic impact (See Chapter 2.8, page 323)
201
Transparency
in film and photography, a positive image on film that is visible when light is shone through it (See Chapter 2.8, page 322)
202
Value
the lightness or darkness of a plane or area (See Chapter 2.8, page 320)
203
2-D side-scrolling game
gameplay is seen from a side-view camera angle with onscreen characters generally moving left to right and backgrounds made up of scrolling graphics (See Chapter 2.9, page 348)
204
Aesthetic
related to beauty, art, and taste (See Chapter 2.9, page 344)
205
Analog
photography or movie made using a film camera that chemically records images using a continuous gradation of value ranges from light to dark so that they directly match the actual appearance of the object or scene (See Chapter 2.9, page 334)
206
Animation
genre of film made using stop-motion, hand-drawn, or digitally produced still images set into motion by showing them in sequence (See Chapter 2.9, page 339)
207
Atmospheric perspective
use of shades of color and clarity to create the illusion of depth. Closer objects have warmer tones and clear outlines, while objects set further away are cooler and become hazy (See Chapter 2.9, page 348)
208
Auteur theory/auteur films
from the French word for "author"; refers to films that notably reflect the director's creative vision above other criteria (See Chapter 2.9, page 343)
209
Background
the part of a work depicted furthest from the viewer's space, often behind the main subject matter (See Chapter 2.9, page 340)
210
Biopic
movie that tells the story of a person's life, often filling in facts with narration and plotlines (See Chapter 2.9, page 342)
211
Celluloid
tough, transparent plastic used to make motion-picture film, photographic film, and X-rays; until relatively recently most movies were filmed on celluloid (See Chapter 2.9, page 334)
212
CGI
computer-generated imagery (See Chapter 2.9, page 341)
213
Cloud (or the Cloud)
can refer to any electronic network; generally refers to shared resources on the Internet rather than local servers or devices for storage and computer applications (See Chapter 2.9, page 334)
214
Documentary
non-fiction films based on actual people, settings, and events (See Chapter 2.9, page 342)
215
Dubbing
post-production addition or mixing of voices (or sounds) that do not belong to the original recording (See Chapter 2.9, page 338)
216
Epic
style or genre in film/television that focuses on grand-scale storytelling with dramatic music, elaborate costumes, and high production value; may use historical events or people but does not focus on historical accuracy (See Chapter 2.9, page 348)
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Fantasy
fiction genre set in an imaginary universe; often uses magical or supernatural elements in the plots, themes, or settings (See Chapter 2.9, page 348)
218
Flashback
transition to an earlier time in a story that disrupts the chronological order of events (See Chapter 2.9, page 337)
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Frame
a single image from the sequence that makes up a motion picture; on average, a 90-minute film contains 129,600 separate frames (See Chapter 2.9, page 334)
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Genre
category of artistic subject matter, often with a strongly influential history and tradition (See Chapter 2.9, page 342)
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GIF (graphics interchange format)
compressed image file type to reduce transfer time (See Chapter 2.9, page 347)
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Historical drama
based on real-life events or time periods; can be factual or fictionalized (See Chapter 2.9, page 342)
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IMAX
"Image Maximum," a format for film presentation that allows presentation of film as ten times larger sizes than the conventional one (See Chapter 2.9, page 335)
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Impressionism
a late nineteenth-century painting style conveying the impression of the effects of light; Impressionists were painters working in this style (See Chapter 2.9, page 341)
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Key-frame animation
technique in which an animator creates important frames in the sequence, and software fills in the gaps (See Chapter 2.9, page 341)
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Medium (plural media)
the material on or from which an artist chooses to make a work of art (See Chapter 2.9, page 334)
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Motion
the effect of changing placement in time (See Chapter 2.9, page 335)
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Motion capture ("mo-cap" or performance capture)
technology developed to animate CGI characters by translating into a digital performance the live, exact motions of people or objects, using specially designed suits or equipment with sensors (See Chapter 2.9, page 341)
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Musical
a genre of film in which the story is told through song, usually combined with dialogue and dancing (See Chapter 2.9, page 338)
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Pace
speed at which something moves; rhythmic flow of dialog or action related to an overall scene or sequence (See Chapter 2.9, page 336)
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Propaganda
art that promotes an ideology or a cause (See Chapter 2.9, page 337)
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Puppet
figure in the form of an animal or person used for entertainment purposes that appears to move on its own but is actually controlled by a person's hand(s), strings, or another mechanism (See Chapter 2.9, page 339)
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Science fiction (Sci-fi)
genre of film in which fictional stories include advanced science and technology, often in futuristic settings (See Chapter 2.9, page 342)
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SLR (single-lens reflex camera)
hand-held digital or film camera that uses a mirror and prism system so the focus screen matches the image captured (See Chapter 2.9, page 334)
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Stop-motion animation
figures, puppets, or dolls are photographed in a pose, moved very slightly, and then photographed again; the process is repeated until the desired sequence of movements has been acted out (See Chapter 2.9, page 339)
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Stroboscopic motion
the effect created when we see two or more repeated images in quick succession in such a way that they visually fuse together (See Chapter 2.9, page 335)
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Style
a characteristic way in which an artist or group of artists uses visual language to give a work an identifiable form of visual expression (See Chapter 2.9, page 336)
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Zoetrope
an antique, European toy; contains a rotating cylinder with a sequence of images on the inside that creates the impression of a single action in continuous motion when spun (See Chapter 2.9, page 335)
