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| the way you organize the art elements to accomplish a particular effect |
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| repeating of an art element (shape, color, line, etc.) over and over |
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| repeating an art element at intervals to create movement |
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| sequence in which the parts radiate from one point |
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| sequence in which parts show a progression or change |
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| combination of identical art elements (shape, color, size, etc.) |
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| combination of opposite shapes, colors, sizes, etc. |
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| arranging of visual elements in a work equally |
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| visual elements distributed equally |
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| visual elements distrubuted unequally |
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| relationship of one part to another |
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| "oneness" achieved by effective use of the art elements/principles |
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| Art Elements of Design (7) |
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| line, direction/space, shape, size/form, value, color, texture |
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| art element that has hue, value, and intensity |
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| Color Theory/Color Schemes |
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| plan for organizing colors |
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| across from one another on the color wheel (e.g. blue and orange) |
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| three colors next to one another on the color wheel that have a common hue |
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| many different values of one color (e.g. many shades of blue, both shades and tints) |
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| Split Complementary Colors |
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| color & two colors to either side of its complement (e.g. tellow, red violet, and blue violet) |
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| colors that form an equilateral triangle on the color wheel (e.g. green, purple and orange) |
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| basic colors that cannot be made by mixing (red, yellow, and blue) |
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| formed by two primary colors mixed together (orange, green, and violet) |
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| Intermediate/Tertiary Colors |
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| formed by mixing a primary color and secondary color |
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| colors that fall in between and include green and violet; suggest distance |
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| colors between and including red to yellow; suggest focus |
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| strength (brightness and dullness) of a color |
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| lightness and darkness of a color |
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| small white area showing reflected light |
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| colors that cannot be seen through |
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| either a material used to create artwork or a material used to change the consistency of paint |
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| How To Create A Neutral (3) |
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| equal amounts of complementary colors; equal amounts of primary colors; blue and brown combination |
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| communicated feeling or emotion, usually achieved through light and color |
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| relationship of parts that gives the effect of looking as though all parts are under the same condition of air and light |
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| water-based paint with transparent qualities |
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| oil-based paint with opaque qualities |
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| plastic-based paint with both transparent and opaque qualities |
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| form of painting in which compressed air is used to spray paint onto a surface |
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| surface on which one works (e.g. canvas, paper, mat, etc.) |
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| tool on which one mixes colors; an artist's choice of colors |
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| Oil Painting Techniques (5) |
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| wet, dry, scumbling, glazing, impasto |
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| values are allowed to dry before adding the next |
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| quickly applying a thick layer of paint over a dark, dry layer |
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| applying a thin, transparent layer of paint over a dry layer |
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| applying thick layers of paint to a canvas and built up, typically by means of a palette knife |
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| Watercolor Techniques (18) |
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| wash, graded wash, wet on wet, rubbed wash, spatter, spongeing, salt, dry brush, detail line, scrapping, dabbing, crayon resist, rubber resist, saran wrap/aluminum foil/crumpled paper, stenciling, found objects, straw blowing, spray bottle |
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| covering an area in one value |
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| covering an area with gradual value, going from light to dark |
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| applying wet paint to wet paper to create a soft-edged appearance |
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| round, flat, bright, and filbert |
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| modeling forms in such a manner that visible lit parts seem to emerge from the surrounding dark; widely used by Renaissance and Baroque Italian artists |
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| creating the illusion of a three-dimensional object; French for "trick of the eye" |
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| pictures grouped by a common theme |
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| the manner in which art elements are arranged in a work of art |
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| translating observed images onto paper, using line or value |
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| full-value blending, contour line, positive/negative, tone |
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| technique of shading through smooth, gradual application of value |
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| technique that uses only lines to represent a subject |
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| portraying shapes and the empty space around them (FA II charcoal assignment) |
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| lines or dots that suggest texture or value |
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| series of lines that create values and texture |
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| series of dots that create values and texture |
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| unused, empty space (space around forms) |
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| shapes or forms in a picture |
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| the progression of a given hue from its darkest value to its lightest; can depict either a tint or a shade |
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| dark area cast by an object |
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| overlapping, value gradation, size gradation, texture gradation, color change, perspective |
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| thinness or thickness of a line |
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| type of line used (e.g. curvy, zigzag, straight, heavy, etc.) |
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| all forms can be reduced to this |
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| added to create 3-D appearance |
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| Light Values; Dark Values |
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| names of locations where various art elements may be placed |
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| artist's individual way of creating |
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| Ways To Indicate Center Of Interest (3) |
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| contrasting art elements (size/form, texture, value), positioning lines that lead into picture, using human interest objects |
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| vantage point is center of picture, generally straight lines are used to indicate focus, focus is generally obvious |
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| placing elements in the foreground in order to draw attention to focus |
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| artwork with length and width, but not depth, forms a pattern |
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| abstract work of art consisting of many different media pasted onto a surface |
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| intended to take the place of words; advertises a story, record, calendar, card, etc. |
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| decorative design that uses visual repetition; has rhythm but no movement |
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| creating the illusion of depth on a two-dimensional surface |
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| characterized by forms that project from a flat surface |
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| can be both beautiful and useful (e.g. jewelry, weaving, ceramics, wood carving, etc.) |
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| all elements unified with respect to proportion, space, volume, and movement |
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| art element that has length, width, and depth |
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| bulk of a form (when one creates in terms of a cone, a cylinder, a sphere, etc.) |
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| stretching an object or figure to unreal proportions, in order to communicate an idea or feeling |
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| enlarging (part of) an object or figure in order to communicate an idea or feeling |
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| method of drawing an object or figure so that it seems to go back into space |
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| can be "invented" or "simulated" |
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| texture that does not represent real texture but creates the sensation of one by the repeating of lines and shapes in a pattern |
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| drawn texture that imitates real texture |
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| area that is primary focus of attention |
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| art principle; one particular art element being stressed |
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| medium of powdered color mixed together with a binder; used to create a soft-edge picture |
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| period characterized by the theory that art should conform to idealistic models of proportion |
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| period characterized by well-balanced style based on symmetry, variety, and movement; arose out of a reaction to a crisis in faith |
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| period that literally means "revival" or "rebirth" (of classical awareness); reassertion of spiritual values |
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| naturalistic representation used to depict light effects or atmosphere with the use of broken color |
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| stressed self-expression rather than naturalistic effects; used free brushstrokes; historically embraces such schools as Impressionism and Expressionism |
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| theory of expressing one's inner emotions; noted for bizarre distortions, violent colors, and gestural brushstrokes |
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| stressed abstract form by the use of intersecting planes, cubes, cones, etc. and transparent colors |
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| movement originating in France; influenced by Freudianism, i.e. the subconscious activities of the mind; dream-like quality |
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| movement characterized by optical design showing movement, in which the surfaces were mathematical, hard-edged, and smooth |
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| movement that originated in England from popular culture of advertising, mass media, comic strips, etc. |
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