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| An imaginary flat surface that is assumed to be identified to the surface of a 2D work of art |
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| Illusion of 3D space on a 2D surface; when there is the appearance of objects existing in space |
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| When one shape obscures part of another; we read this as if one shape is in front of the other, which is further back in space |
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| The device of placing figures or objects higher up on the picture plane to read as if they were behind or further back in space |
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| Receding parallel lines remain parallel; They d NOT converge at a vanishing point |
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| Atmospheric perspective (also called aerial perspective) |
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| When objects in the distance are less distant, blurred, gray, in hue; foreground objects or figures are more distinct, detailed, sometimes more intense in hue |
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| All parallel lines receding into space will converge at a horizon line where they seem to disappear at vanishing point |
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| Objects that are farther away appear smaller and objects in the foreground appear larger |
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| Two-point linear perspective |
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| When sets of receding parallel lines converge at two separate vanishing points |
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| Linear perspective was "invented" during the ____________ when artists wanted to create realistic depictions |
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| Linear perspective is a ____________ that assumes artist has one eye held in a fixed stare, with a fixed and stable position |
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| Rational and Mathematical |
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| The art, the tradition and the legacy of ancient Greece and Rome. Classical art emphasized rational simplicity order and restrained emotions |
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| Painting them as if they are looking at them straight on. |
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| Refers to size in relation to some constant or normal size; If an object or figure appears like you would expect then it is at normal scale. If an object or figure seems larger or smaller than you would expect than it appears out of scale. |
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| The larger the figure the more important that figure is perceived to be; size of the figure is a reflection of importance |
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| Refers to the size of the part of a figure in relations to the whole figure; if the proportion is normal, than the parts to the whole are what we would expect |
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| Involves proportion and perspective. It is the method of portraying figures and objects on a two-dimensional surface so that they appear to project and recede from the picture plane |
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| The three primary qualities (properties) of color are: |
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| Hue, value, and intensity (saturation) |
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| The name of the color and is determined by the electromagnetic wavelength of light |
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| All the colors of the spectrum are present but are so balanced and perfectly blended that the effect is that of colorless light |
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| The basic hues from which other colors are mixed. You need these to mix and obtain other colors (Red, yellow and blue) |
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| Orange, green, and purple; Created by mixing two primary colors |
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| Mixing a primary color and a secondary color |
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| Refers to the quality of lightness or darkness |
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| Without chroma, without color, neutral; the achromatic "colors" are black, white, neutral and gray |
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| In Italian it means light and dark;2 different meanings |
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| Chiaroscuro (1st meaning) |
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| Manipulation of light and dark values to create modeling, giving the sense of three dimensional form in a two-dimensional work of art |
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| Chiaroscuro (2nd meaning) |
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| It can also refer to the overall pictorial manipulation of lights and dark's for dramatic effect |
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| Refers to work of art in which dark values predominates |
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| Refers to works of art in which light values predominates |
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| Refers to the relative purity or brilliance of a color |
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| The purest, brightest colors are said to be of __________ intensity or saturation |
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| Hues that are duller or more gray are of ______ intensity or saturation |
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| The general color of anything we see, without considering the effect of lighting or adjacent colors |
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| Directly opposite on the color wheel |
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| Simultaneous Contrast of Hues |
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| The effect of two colors meeting, differences between them are accentuated; their similarities are not apparent |
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| Monochromatic Color Scheme |
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| One hue dominates; Achromatic hues can be added to any color scheme and not change the scheme |
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| Analogous Color Scheme (or harmony) |
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| Uses hues that are adjacent to each other on the color wheel |
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| The afterimage of a hue is it's ____________ |
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| The materials used in a specific artistic technique; Used to change the consistency of the paint |
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| Any painting on a support (canvas, paper, wood, etc) that can be moved from place to place |
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| Done on a wall or ceiling, it conforms to the architectural space |
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| Decoration in tones of a single color, especially gray designed to produce a three-dimensional effect |
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| Layers of wet paint are applied to previous layers of wet paint |
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| Thick paint that reveals the action of brushstrokes |
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| A permanent wall-painting technique in use since ancient times. Pigment and water is brushed directly into fresh, wet plaster. As the plaster dries, the pigment is bound into it and literally becomes part of the wall itself |
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| A process that makes one or several lasting copies of sculpture. Often the casts are made of bronze, though other metals or plaster may be used |
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| Once the original sculpture is created, a plaster or rubber mold is then made that can fit snugly around it and retail all details of its shape and surface texture. Original sculpture is removed from the mold, and a thin layer of wax is applied inside the mold, of exactly the thickness desired for the final metal sculpture. This layer of wax is a hollow wax model of the original sculpture. |
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| Negative spaces of a design are cut away, leaving the positive areas raised |
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| A printmaking process where images are drawn or painted directly in grease on a flat stone or metal plate |
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| A printmaking method: lines cut into the surface of a metal plate become receptacles for ink after the plate is inked and its surface is wiped off. Damp paper and plate are then run through a press; the heavy pressure forced the paper into the ink-filled grooves, and the image is transferred |
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| Inexpensive method of producing very large editions of prints; a stencil is attached to silk tightly stretched over a wooden frame. Paper or cloth is placed underneath he screen and ink is spread across the screen with a rubber blade or squeegee. The areas of silk not covered with a stencil let the ink come through and print onto medium |
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Differs from most other works of art in 2 ways
1. They are made by an indirect process. The artist does not draw directly on the paper, but instead the artist works on a surface called the matrix. The matrix is used to make the print. The print is transferred from the matrix.
2. The printing process typically results in multiple nearly identical images in an art of multiples. |
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| Fine are prints are signed ... |
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| By the artist and the artist also marks each print in pencil with a numbering system; This is to avoid fraud and to try to prevent inauthentic works being passed of as original prints |
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| A number such as 5/50 would mean |
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| That we would be looking at the 5th print from an edition of 50 |
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| Indicates the number of prints pulled or printed from the matrix |
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| When more than one color is used, a separate block (or matrix) is used for each color. Care must be taken to make sure each color is carefully alighted to ensure that the colors will be precisely placed in the final print |
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| In color prints, the proper alignment of each color with the other inked colors |
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