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| watered-down paint, or watercolor |
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| painted on damp, lime plaster.. lasts long |
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| painted on plaster, popular in the Renaissance |
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| binding agent that holds pigment |
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| pigment in a wax vehicle that is heated to a liquid state;durable, vibrant, retains a hard luster |
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| ground pigments mixed with egg and thinned with water; used in the Middle Ages |
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| powdered chalk, plaster, and animal glue used as a primer |
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| application of thinly hammered sheets of metal to a work |
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| turpentine medium/thinner |
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| mixture of pigment, plastic, and water |
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| mixing of traditions of different cultures to create new blends |
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| water as a solvent, white does not exist |
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| traditional paint; very opaque |
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| collage started by Picasso |
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| ground bone/chalk, gum, water, and pigment; drag a silver-tipped instrument over paper; cross-hatching |
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| 1500s; graphite dust and clay, baked, and encased in wood or paper |
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| burnt pieces of wood or bone, hard to soft |
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| ground chalk mixed with powdered pigments and a binder |
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| charcoal, chalk/pastel, and wax; wax makes it less likely to smudge |
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| Egyptians used ink on this |
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| Pen and Wash, Brush and Ink, Brush and Wash, and Pen and Ink |
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| derived from Italian "cartone" meaning paper |
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| raised areas hold ink, carve away what you don't want to show |
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| incised areas hold ink; ink forced into the grooves |
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| image area holds ink; non-image areas repel ink |
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| piece of paper or surface that design is transferred to |
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| oldest form of printmaking; cut along the grain |
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| thin layers of wood glued together to form a solid surface |
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| from birds; originally used with ink |
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| ancient method; clean lines |
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| needle dragged across a surface, leaving a rough edge or metal burr; creates a soft line |
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| minimal pressure used for depth of line; acid eats away at all exposed (no longer covered with resistance) areas |
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| "half-tint"; entire plate hatched, lighter areas pushed back down, brightness of white depends on pressure |
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| acid resistant powdered resin creates a tonal effect |
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| darkened box with a pin hole; used to trace objects |
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| Neipce; earliest known permanent photograph; hardened in relation to exposure to light |
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| thin sheet of silver-plated copper;reverses left to right with long exposures and no multiples |
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| meant to be seen from one direction and relatively flat |
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| form that extends at least halfway from the background |
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| carving unwanted materials away |
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| modeling, casting, and construction |
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| removing unwanted materials away from a hard surface with a sharpened tool |
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| pliable material, like clay or wax, shaped into things |
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| liquid metal material poured into a mold to create a form |
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| original made of clay/plaster/wax, make mold of original than fill it with wax |
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| metal paint, may happen naturally with rain depending on surface (metal) |
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| constructed sculpture made from existing materials placed together |
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| anything brought together |
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| reflections; neon tubings, etc. |
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| environmentally charged art that doesn't last long; changes quickly |
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| 1% of total building put aside for sculpture |
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| all pressure on downward facing wall |
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| earliest building technique; ex. Stonehendge |
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| notches hold top beam in place |
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| hemispherical forms, forces push outwards; made of small triangular parts |
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| barrel vaults at right angles |
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| used to support a huge dome; triangular shaped supports |
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| finely ground mineral, when applied to clay and heated, creates colors and textures |
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| What are the three levels of iconography? |
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| 1. Factual recognition 2. Understanding of subj. matter 3. Understanding of deeper meaning |
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| What are three categories of site-specific installations discussed in class; and what are their characteristics? |
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| Physical- physical limitations of actual space, Symbolic- symbolic meaning or history of space, Time&Place- moment in time at a specific space |
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| key ingredient in lithography; used in printing |
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| stone/ wooden slab usually decorated with inscriptions, carvings, and paintings |
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| Idea more important than material concerns |
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| Why has photography lost its status as unquestionable ‘truth’? |
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| Because of the possibility of manipulation |
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| art produced for one location; content/meaning are linked to the site |
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| Krzysztof Wodiczko’s work is considered what type of site-specific installation? |
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| He uses all three; physical, spiritual, and time and place |
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| inner skeleton normally made of metal; gives clay additional strength |
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| place negative on a second sheet of light-sensitive paper then expose both to light |
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| draw/paint with oil paint/watercolor on a non-absorbent surface; fine detail added by scratching off paint; paper pressed to surface |
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| photographic images on screen covered with a light-sensitive gel |
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| drawing made with crayon on a flat, stone slab; nitric acid, dampened with water, acts as a fixative; stone covered with oily ink using a roller; paper pressed to stone |
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| illusion of brush/ink drawing by brushing a solution of sugar and water onto a resin-coated plate |
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| yellowish/reddish/brown; comes from earth containing oxides or manganese and iron |
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| dark yellow; comes from iron oxide in some clays |
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| substance that keeps two elements together as a solvent |
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| all the colors of a single hue |
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| substance that binds pigment |
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| surface on which you paint, usually a coating |
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| painting in transparent, rather than opaque, watercolors |
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| deeply/sharply cut; engraved |
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| the sharpened point of a quill pen |
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| Serigraphy; stencil-method of print-making |
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| measure of reaction to photons, or light |
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| In Giotto’s 14th-century painting Lamentation, joints can clearly be seen that break the blue sky into numerous sections. What caused the breaks? |
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| Fresco dries quickly and therefore creates visual seams |
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| The advent of the camera replaced the age-old need of art to imitate nature as closely as possible, and this change, in turn, led to what development in 20th century art? |
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| Modern art, representational more than realistic |
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| The word photography is derived from what Greek root? |
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| Photos, "to write with light" |
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| Michelangelo’s The Cross-Legged Captive is an example of what method of making sculpture? |
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| The Simon Rodia Towers in Watts, coated with glass, tile, shells, and dishes, took 33 years to erect. It an example of what technique of art making? |
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| Walter de Maria’s The Lightning Field is considered a spectacular example of what type of art? |
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