Term
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Definition
Light is an important though possibly subtle element of design. It is a
__________________________ tool when used consciously. It can also be the medium
itself. |
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Term
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Definition
The light reflected from a surface determines its __________________________. Value
is a characteristic of colour - the degree of lightness or darkness of a colour. |
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Term
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Definition
To study values, we observe the __________________________ or lightness of areas
in relation to each other. It is easy to see value differences in black-and-white
photographs, for they reduce the colour to a range of values from black through greys to
white. In real life, we tend to assign objects a global colour label, thus ignoring the
actual differences that can be perceived in various areas of their surfaces. |
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Term
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Definition
One function of value is to provide clues to three-dimensional form. From our
experience in the three dimensional-world, we have learned to associate
__________________________ value shifts with rounded surfaces. Value changes are
much more abrupt across sharply angled surfaces. |
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Term
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Definition
In addition to __________________________ forms, value contrasts may be used to
create patterns of light and shadow that are themselves interesting. |
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Term
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Definition
Patterns of light and __________________________ may not only tie a work together,
but also unite it visually with its surroundings. |
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Term
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Definition
In addition to describing forms, value __________________________ allow us to see
surface textures. |
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Term
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Definition
Natural lighting __________________________ constantly, so that an outdoor
sculpture may change visually quite a lot at different times of day and under different
weather conditions. |
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Term
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Definition
To appreciate an outdoor work fully, you should
__________________________ it several times to see it under many different lighting
conditions. |
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Term
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Definition
When the shadows are of aesthetic __________________________, the artist must
observe where they will fall during the day to determine the most desirable placement of
the piece. |
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Term
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Definition
Shadows cast by other objects may also be a __________________________ –
buildings may keep a sculpture in continuous shadow - which can create flatter patterns
of light and shadow. |
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Term
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Definition
Another way that artists use light __________________________ is to create areas in
which reflections may occur. |
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Term
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Definition
Dull or __________________________surfaces absorb all
of the light striking them, but shiny smooth surfaces may reflect light back to the viewer,
making the objects seem to glow with inner life. |
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Term
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Definition
__________________________ makes it possible to build sculptural forms and lines
using nothing but directed light – lasers for example. |
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Term
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Definition
Light is also a used as a medium in __________________________, where stage
lighting is s important as set design, costuming, makeup, sound, and acting in creating
the desired effects |
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Term
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Definition
Most good lighting is so integrated with the wholeness of the theatrical event that it
doesn’t stand out as a thing in itself. But lighting can expand or
__________________________ the illusionary space of the stage, drawing it down to a
pinpoint so that everything else fades into oblivion or creating on a 25 foot deep stage
the sense of vista of the great plains of Nebraska. |
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Term
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Definition
It can be used to dramatize
__________________________ effects or to subdue them. |
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Term
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Definition
It can also make colors
seem to __________________________ or to recede. |
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Term
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Definition
Lighting’s ability to be so flexible
is one of its great contributions to theater. Whereas the sets are fixed, lighting is an
__________________________, hands-on activity that, like the actors, can respond to
the moment. |
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Term
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Definition
| Reflection occurs when _______________________ strikes an opaque surface. |
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Term
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Definition
Some
colours are absorbed and others reflected. These reflected rays are conveyed to the
rods and cones in the retinas of our _______________________ and this is translated
to be a certain colour. |
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Term
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Definition
Mixing colours with pigments is called subtractive colour. Mixing
_______________________ together produces a slightly darker colour as subtracts its
energy from the light reflected. |
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Term
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Definition
The exception is adding white pigment to another pigment to produce a
_______________________ colour called a tint. |
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Term
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Definition
| Adding black produces a _______________________ colour or shade. |
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Term
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Definition
| Primaries in subtractive colour are yellow, red and _______________________. |
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Term
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Definition
Additive colour is used when mixing _______________________ in theatre, installation,
video or computer graphics. RGB or red, green and blue are the primaries in additive
colour. |
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Term
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Definition
Optical mixing occurs when colours are mixed in the viewer’s
_______________________ rather on the surface of the object. |
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Term
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Definition
This happens when
colours are so _______________________ together to each other that their energies
interact or when coloured forms are transparent, allowing one colour to be
_______________________through the other and thereby mix visually. |
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Term
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Definition
| Hue is the characteristic that we relate to the colour _______________________. |
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Term
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Definition
The
colour wheel is a model of how different colours _______________________ to each
other. |
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Term
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Definition
Saturation also called chroma or intensity measures the _______________________ or
brightness of a colour. |
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Term
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Definition
Complementary colours are _______________________ each other on the colour
wheel. |
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Term
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Definition
When mixed they _______________________ each other creating a greyer
colour. |
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Term
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Definition
| Neutral colours are low intensity or low _______________________. |
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Term
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Definition
| Value is the lightness or _______________________ of a colour. |
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Term
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Definition
Juxtaposing two colours highlights their distinct qualities, _______________________
their differences and reducing their similarities. |
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Term
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Definition
This is most notable with
_______________________. |
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Term
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Definition
Red appears redder next to green. The way that
_______________________ influence each other is called simultaneous contrast. |
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Term
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Definition
To varying degrees, artists use colours to elicit _______________________ responses
from viewers. |
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Term
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Definition
Colours can have symbolic and _______________________ links which can be
culturally learned or psychologically based. |
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Term
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Definition
Reds, yellows and _______________________ are referred to as warm colours and
blues and greens are cools colours. These classifications are based on the experience of fire and water. |
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Term
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Definition
Warm colours tend to _______________________ and cool colours to
_______________________. |
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Term
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Definition
Physiological properties include things like the _______________________ ability to
focus on some colours better than others. |
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Term
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Definition
Anlogous colour schemes involve colours that are _______________________ on the
colour wheel. |
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Term
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Definition
Complementary colours are considered to have the highest
_______________________ of hue. |
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Term
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Definition
| Double complement: two adjacent _______________________ and their complements. |
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Term
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Definition
Split complement: one hue plus the hues on either side of its
_______________________. |
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Term
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Definition
| Triad: _______________________ hues equidistant on the colour wheel. |
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Term
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Definition
| Tetrad: Four _______________________ equidistant on the colour wheel. |
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Term
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Definition
Aesthetic experiences occupy time as well as _________________, from subtle or
uncontrolled or even illusionary movement through time on the part of the viewer or the
work of art, to _________________ defined sequences of change through time. |
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Term
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Definition
Many contemporary artists use time and change or _________________ as a dynamic
tool to engage the viewer and as a central aspect of their work. |
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Term
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Definition
Viewing Time - The time it takes for a _________________ to explore a piece – this is
highly variable depending on the attention given to a work by a viewer, but to appreciate
a 3 D work, it is best to see it from _________________ distances and angles which
takes time. |
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Term
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Definition
| Some works are designed to change through _________________. |
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Term
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Definition
They are referred
to as kinetic art. Works of art that are designed to _________________ through a
predetermined sequence of events exist in what can be called controlled time. |
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Term
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Definition
Free Time – sculptures are partially shaped by factors beyond the artist’s control, such
as unpredictable _________________ forces such as water or wind. |
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Term
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Definition
| Some works incorporate the unpredictability of _________________ behavior. |
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Term
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Definition
An
example of this is how Charles Simonds works were destroyed even though the children
of the neighbourhoods tried to protect them. Their _________________ became part of
the mythology that Simmonds built around the “little people” that inhabited his dwellings. |
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Term
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Definition
| A viewer’s willingness or unwillingness to _________________ is also unpredictable. |
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Term
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Definition
All art is finite – it exists only in a certain amount of _________________ before it
decays or otherwise comes to an end. |
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Term
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Definition
There are ways however that the permanence of
an individual piece of art can transcend chronological time. One of these is classical
appeal – certain _________________ last through time because they transcend
contemporary standards of beauty. |
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Term
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Definition
Works like Michelangelo’s David or Gudea Worshipping have an _________________
that outlasts its specific time of production. |
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Term
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Definition
Some interactive works are outside of time in the sense that they do not exist until
someone becomes _________________ with them. |
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Term
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Definition
Finally, much art presents us with the opportunity to transcend _________________ by
becoming so fully involved with a work that we forget ourselves, lose track of the
passage of _________________ and experience the vastness of the moment, beyond
_________________. |
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Term
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Definition
Non-art objects are often appreciated for their intrinsic _______________________
qualities and for associations. |
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Term
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Definition
Sometimes they are presented with _______________________ or no alteration and
other times they are used as a part of a greater whole |
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Term
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Definition
Marcel Duchamp is credited for presenting objects designed for
_______________________ purposes as art. He appropriated and displayed these
objects including a urinal, typewriter, snow shovel. He called these “ready-made” art. |
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Term
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Definition
When a number of non-art materials are _______________________ to create a work
of art, the result is often called an assemblage. |
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Term
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Definition
Our affluent society’s tendency to throw away used _______________________ rather
than reuse or recycle them has opened fertile new ground for artists. Sometimes in
protest against wastefulness, sometimes in delight at finding creative uses for cast-offs. |
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Term
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Definition
Subtraction is the opposite of the ____________________________ approach –
carving away extraneous material from the outside of a form. |
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Term
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Definition
| Wood and ____________________________ are most often used subtractively. |
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Term
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Definition
Softest ____________________________ include white pine, redwood, spruce, and
cedar. |
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Term
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Definition
Medium ____________________________ woods include birch, butternut, and
fruitwoods such as cherry, apple and pear. |
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Term
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Definition
Soft ____________________________ include sandstone, soapstone and
alabaster, which can be carved with a knife when wet. |
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Term
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Definition
| Marble is harder and will take a ____________________________ polish. |
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Term
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Definition
| Granite is very ____________________________, but also extremely durable. |
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Term
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Definition
Steps in working with these materials include drawing the
____________________________ on the surface, then roughing out the
____________________________. |
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Term
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Definition
Sometimes power tools like chainsaws for wood
and drills or pneumatic hammers and saws for ____________________________ are
used for this part. |
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Term
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Definition
Finer work is often accomplished using ____________________________ tools like
points, chisels, or gouges struck with a mallet or hammer. |
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Term
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Definition
Releasing the image from the ____________________________ means using the
____________________________ to its best advantage, whether the idea was
preconceived or suggested in some way by the stone. |
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Term
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Definition
Artists sometimes make a ____________________________ first out of clay or
other easily worked material. No matter what approach is used, artist should work from
the inside rather than the outside of the material |
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Term
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Definition
Some artists, Like Brancusi, leave and accentuate the marks of the tools. In
____________________________ works, marks are not seen or are used to represent
something. High polish is often used to show up the qualities of the material |
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