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| The visual elements include... |
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| -line, shape, mass, light, value, color, texture, space |
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| defines a two dimensional shape |
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| contours are the boundaries we percieve as 3-dimensional forms and contour lines are the lines we draw to record those boundaries |
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| lead the viewer to follow line and see where it takes them |
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| a common example is the dotted line, where a series of dots are spaced closely enough that our mind connects them |
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| a two-dimensional form. it occupies an area with identifiable boundaries. |
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| a 3-dimensional form that occupies a volume of space. |
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| the shape we detach and focus on |
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| the surrounding visual information the figure stands out from, the background |
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| the way light and shadow give an object a three-dimensional appearence |
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| artists employ values-lights and darks- to record contrasts that model mass for our eyes |
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| areas of closely spaced parallel lines |
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| areas of closely spaced perpendicular lines |
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| areas of dots average out through optical mixing into value. as with hatching, the depth of the value depends on density |
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| product of primary and secondary hues |
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| the name of the color according to the categories of the color wheel |
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| a color lighter than the hue's normal value |
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| a color darker than the hue's normal value |
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| intensity; saturation; chroma |
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| refers to the relative purity of a color |
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| harmonies are composed of variations on the same hue, often with differences in value and intensity (all reds, all blues) |
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| harmonies involve colors directly opposite one another on the color wheel (red and green) |
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| harmonies combine colors adjacent to one another on the color wheel (red-red-orange-orange) |
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| harmonies are composed of any three colors equaldistant from each other on the color wheel (red, yellow, blue) |
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| tactile- a quality we could experience through touch |
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| even before touch a surface we have formed an idea of its texture by observing the way it reflects light |
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| any decorative, repetitive motif or design |
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| the actual space in which our bodies stand |
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| the actual space is the flat surface of the work itself, which we tend to see all at once |
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| the literal surface of a painting imagined as windows so that objects in depth are spoken of as behind and objects in the foreground are spoken of as up against the picture plane |
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| when two forms overlap, the one we perceive as complete is in front of the one we perceive as partial |
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| parallel lines receding into the distance seem to converge until they meet at a point on the horizon line where they disappear |
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| all receding parallel lines converge at one single vanishing point on the horizon |
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| when sets of receding parallel lines converge at tow separate vanishing points |
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| approximate the regular named shapes and volumes of geometry such as square, triangle,circle, cube, pyramid and sphere |
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| irregular and evke the living form of nature |
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| shapes we perceive as figures |
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| color is a function of and dependent on... |
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| what we perceive of color as color is... |
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| in 1666 passed a ray of sunshine through a prism. he observed that the ray of sunlight broke up or refracted into different colors |
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| colors on the red orange side of the color wheel, because of their association with sunlight and firelight |
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| colors on the blue green side of the color wheel, because they associate with sky, water, and shade |
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| refers to a wooden board on which artists traditionally set out their pigments, but it also refers to the range of pigments they select |
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| refers to relative lightness or darkenss |
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| intensity or saturation or chroma |
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| refers to the relative purity of a color. |
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| in light white is the sum of all colors. pigments have to our eyes the color that they reflect |
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| When pigments or different colors are mixed... |
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| the reasulting color is darker and duller because together they absorb more color from the spectrum (subtractive process) |
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| color harmonies or color schemes: |
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| the selective use of two or more colors in a single composition |
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| composed of variations on the same hue, often with differences in intensity and value (all reds, all blues) |
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| involve colors directly opposite on the color wheel (red, green) |
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| harmonies combine colors adjacent (next to) each other on the color wheel. (red-red-orange-orange) |
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| are composed of any three colors equidistant from each other on the color wheel. (red, yellow, blue) |
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| artists limit themselves to a few pigments and their mixtures, tints, and shades |
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| complementary colors appear more intense when placed side by side. |
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| prolonged staring at any saturated color fatigues the receptors in our eyes, which when allowed to rest produce a complementary ghostly image in the mind |
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| japan opened themselves up to foreigners after being closed for 200 hundred years. everyone was fascinated by all things Japanese, but more seriously in Paris where impressionist painters were influenced by Japanese work. |
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| seated at a desk for example: you look don to see objects closest to us and raise our head up to see objects further away. |
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| devices for achieving implied depth |
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| liner perspective developed during the... |
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| self explanatory, the line created by as far as the eye can see. |
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| in order for pictorial space to be consistent, the logic of linear perspective must apply to every form that recedes into the distance. including objects and human and animal forms. |
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| atmospheric perspective or aerial perspective |
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| staring off into a series of hills you may notice that each succeeding range appears paler, bluer, and less distinct. |
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| painters use diagonal lines, put without allowing parallels to converge |
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| line, shape, mass, light, color, value texture, space, and possibly time and motion must be organized in such a way as to satisfy the artists expressive intent. the more inclusive term, applicable to all kinds of art design |
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| unity is a sense of oneness, of things belonging together and making up a coherent whole. Variety is difference, which provides interest |
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| refers th the appearant "heaviness" or "lightness" of forms arranged in a composition. when visual weight is equally distributed to either side of a felt or implied center of gravity, we feel that the composition is balanced. |
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| the implied center of gravity is the vertical axis, an imaginary line dran down the center of the composition |
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| has two sides that do not match. if it seems to be balanced that is because the visual weights of the two halves are very similar. |
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-The first artist to bring her work the true essence and experience of womanhood
-born on a farm in Wisconsin
-received formal training at the school of the art institute of Chicago and the art students league in NY.
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| Emphasis and Subordination |
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| emphasis means that our attention is drawn more to a certain parts of a composition than others. Subordination means hat of the composition are made less visually interesting so that areas of emphasis stand out. |
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| a point in a work of art that makes its stand out or directs your attention |
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| size in relation to a standard or "normal" size |
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| the use of scale to indicate relative importance |
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| refers to size relationships between parts of a whole, or between two or more items perceived as a unit |
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| the golden section/ golden triangle |
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| divides a length into two unequal segments in such a way that the smaller segment has the same ratio to the larger segment has to the whole |
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| through repetition, any of the visual elements can take on a rhythm within a work. |
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| familiarity and intimacy of drawing |
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| drawing is familiar in that it often uses materials we all are accustomed to- a pencil, pen, chalk. drawing seems intimate because it is frequently the artists private notetaking. |
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-paper comes from the word "papyrus" which the ancient roams used to designate both a plant that grew along the banks of the nile river, and the writing material the egyptians made from it.
-paper is made from plant fibers, beaten to a pulp, mixed w/water, then spread in a thin layer over a fine mesh surface and left to dry
-Secret of paper came from shina through buddhist monks
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| powdered color material mixed w/substance that enables it to adhere to the drawing surface |
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| ancestor of the graphite pencil- a thin wire of metal mounted in some kind of holding device such as a wooden shaft. drawing surface must be specifically coated with w/poster paint or similar ground |
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| probably has made more drawings than any other medium. graphite encased in a wooden or plastic (mechanical pencils) shaft |
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| like a metal point, only with a thin wire of pure silver |
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| line is dark, sometimes very soft, occasionally harsh. charcoal is actually burned sticks of wood |
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| available to artist and nearly all of them offer color effects. |
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| a substance that enables it to adhere to the drawing surface |
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| a fine textured stick medium available in shades of red, brown, and black |
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| available in a full range of colors and several degrees of hardness, pastel is often considered a borderline medium, somewhere between painting and drawing |
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| the lines can be all one width, ranging from fine to heavy or they can vary. most pen nibs are made of metal |
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| ink diluted within water and applied with a brushti give greater solidity |
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| the brushes used for watercolor can also be used with ink. the terms "drawing" and "Painting" have different cultural meanings |
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| the brushes used for watercolor can also be used with ink. the terms "drawing" and "Painting" have different cultural meanings |
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| powdered color, compounded with a medium or vehicle, a liquid that holds the particles of pigment together without dissolving them. the vehicle generally includes a binder; an ingredient that ensures that the paint will adhere to the surface |
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| the canvas, paper, wood panel, wall, or other surface on which the artist works |
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| paints consist of pigment mixed with wax and resin. when the colors are heated, the wax melts and the paint can be brushed easily. |
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| pigments are mixed with water and applied to a plaster support, usually a wall or a ceiling coated in plaster |
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| a full size drawing of the entire project |
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| shares qualities with both watercolor and oil paint. like water color tempera is an aqueous medium. Like oil paint, it dries to a tough, insoluble film. tempera colors retain their brilliance and clarity for centuries |
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| a mixture of white pigment and give that sealed the wood and could be sanded and rubbed to a smooth, ivory-like finish |
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| thin translucent veils of color applied over a thicker layer of underpainting |
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| paint is layered very thickly |
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| consists of pigment in a vehicle of water and gum arabic, a sticky plant substance that acts as the binder |
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| can mimic the affects of oil paint, watercolor, gouache, and even tempura. |
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| the practice of attaching actual objects from the real world such as paper, or cloth to the surface of a canvas or other support |
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most common material is clay
terra cotta- much of ancient art thta has survived was formed from this material |
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| a very indirect method of creating a sculpture |
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