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Art HCC
art appreciation
| Question | Answer |
|---|---|
| wet media | pen and ink, wash and brush |
| metal point | a popular drawing medium during the Renaissance consisted of a stylus of gold, silver, or other metal that was dragged across a prepacked ground of lead white, bone, and water |
| charcoal | made of burnt wood |
| pastels | chalk medium with colored pigment |
| graphite | soft carbon discovered in England in 1564 |
| oil sticks | oil pain manufactured with enough wax for the paint to be molded into stix |
| pen and ink | fast and expressive form of drawing |
| brush and wash | when ink is diluted with water and applied in broad flat areas |
| edition | multiple editions made on paper from one matrix |
| registration | series of different blocks, one for each different color |
| matrix | the surface on which the design has been created |
| Relief | refers to the process of printmaking where the image to be printed is raised off the background in reverse i.e. rubber stamps |
| intaglio | Any form of printmaking in which the line is incised into the surface of the printing plate, including engraving, etching, drypoint, mezzotint and aquatint. |
| woodcut | relief process in which a wooden block is carved so that those parts not intended to print are cut away, leaving the design raised. |
| engraving | pushing a small v-shaped metal rod called a burin across a metal plate, usually zinc or copper, forcing metal up in slivers. |
| etching | metal plate is first coated with an acid resistant substance called a ground, then the ground is drawn upon, then the drawn plate is set in acid removing the ground from the drawn areas |
| acquaint | coating the surface with a porous ground, then heated until ground melts, |
| lithography | aphic printmaking process, meaning the printmaking process in which a polished stone, often limestone, is drawn upon with a greasy material; the surface is moistened and then inked; the ink adheres only to the greasy lines of the drawing; and the design i |
| serigraphy | the image is transferred to paper by forcing ink through a mesh; areas that are not meant to be printed are blocked out. |
| monotype | an artist forms an image on a plate with printer’s ink or paints, and the image is transferred to paper under pressure, usually by means of an etching press |
| who invented lithography | Alois Senefelder |
| encaustic | painting is made by combining pigment with a binder of hot wax, and it is one of the oldest painting media. |
| fresco | from early Renaissance to the late Baroque, create the illusion of real space and realistic figures |
| tempera | painting is made by combining water, pigment, and some gummy material, usually egg yolk. The paint was traditionally applied in a meticulous fashion using a very fine and small sable brush. Colors could not be easily blended, so instead, chiaroscuro was |
| oil paint | allows for continuous blending of tones and hues on the painting surface, work on same painting for weeks, work with big, bold , energetic brushstrokes, blends seamlessly, dries slower than other media |
| watercolor | potentially one of the most expressive of the painting media. Watercolor is when pigments are suspended in water and gum arabic and applied to paper. The application can yield the range of marks that wash and brush drawing techniques use. |
| gouache | watercolor mixed with Chinese white chalk. The medium is opague, and it is difficult to blend brushstrokes together |
| acrylic paint | paint uses pigments suspended in water mixed with a plastic resin, which forms a quick-drying, and in-organic paint. |
| photogenic drawing | developed by William Henry Fox Talbot in 1839, coated paper with light sensitive chemicals, placed a positive image on it, exposed it to light, this fixed a negative image to the paper |
| daguerrerotypes | image can not be reproduced, |
| calotypes | first photograph type to use a negative image |
| wetplate collodion | photographic process, developed by Frederick Archer in 1850, allowing for short exposure times and quick development |
| zone system | framework for understanding exposures in photography developed by Ansel Adams, a photographic gray scale |
| dodging | allows photographer to manipulate value, |
| burning | allows photographer to manipulate value, |
| aperture | size of opening of the lens |
| who invented photogenic drawings | William Henry Talbot |
| who invented the zone system | Ansel Adams and Fredrick Archer |
| when did color photography become widely available | introduced in the 1950's to 60's but not made available until 1970's |
| relief sculpture | meant to be seen from only one side, frontal view, used to decorate architecture |
| in the round | needs no wall support and can be experienced from all sides, demands movement: move around the sculpture to see its entirity |
| environment sculptures | a sculptural space that is large enough for the viewer to move around in it |
| additive process in sculpting | when a sculpture is created by building up something with a substance like clay |
| subtractive process in sculpting | wood and stone carvings are examples |
| carving | subtractive process in which the material being carved is chipped, gouged, or hammered away from the solid, raw block of material |
| modeling | shaping of some plastic material ( a material that is capable of adapting to varying conditions) |
| casting | liquid or molten material is poured into a mold, and allowed to harden |
| assemblage | combined materials to create something like a sculputure |
| installation | environment sculpture that is indoors |
| earthwork | environment sculpture which is outdoors |
| contrapposto | pose of sculpture which illustrates the shifting or counter positioning of weight around the spine |
| what is a functional object | has practical purpose |
| firing | when clay is hardened by heating in a special oven called a kiln |
| kiln | special oven used for firing of clay |
| glass blowing | pipe is dipped in molten glass, and the glass blower blows through the pipe to create a bubble inside, the hot glass is then formed and cut to create a hollow shape |
| weaving | make fabric by interlacing the vertical and horizontal threads |
| warp | vertical threads |
| weft | horizontal threads |
| embroidery | done with needlework |
| embossing | hammer metal from the front side, usually done in combination with repousse, create deep and detailed designs |
| repousse | hammering from the reverse side |
| three main ways to build ceramics | slab construction coiling throwing |
| shell system | one basic material provides the inside support as well as the outside covering |
| skeleton-and-skin | basic interior frame that supports the more fragile covering |
| load bearing | the walls bear the load of the roof |
| post and lintel | horizontal beams supported at each by a post or wall |
| round arch | perfected by the romans, supports itself with the weight of the whole being transferred downwards to the posts |
| barrel vault | extension in depth of the single arch by lining up one arch behind another |
| dome | first perfected by romans, shape of a hemisphere, sometimes defined as a continyous arch rotated 360 degrees |
| pointed arch | allowed more height than round arches |
| flying buttress | series of arches on the outside whose thrusts converter act the outward force of the interior arches |
| cast iron | carbon added to iron to make a stronger substance |
| wood frame | a true skeleton and skin structure |
| truss | strongest piece of construction, one of the most rigid structural forms in architecture, because of its rigidity can span much wider areas than a single wooden beam |
| reinforced concrete | concrete with steel rebars |
| international style | geometric simplicity |
| because in lithography the printing surface is completely flat it is called | planographic |
| monotype is unique among printmaking process because it produces | only one print from the plate |
| which process best describe intaglio printing | the area that prints is below the surface of the plate |
| silkscreen printing, previously used in commercial packaging, was first used as an art medium in | mid 20th century |
| what was eh earliest printmaking technique used in the West | woodcut |
| what was early paper in the West made of | cloth rags |
| when did artists in the Western world first have ready access to paper | in Italy in the early Renaissance |
| The word paper is derived from | Egyptian papyrus |
| binders | dry drawing media consist of color agents which are mixed with this to hold them together |
| period where the view of art changed from a craft lesser than other arts | Renaissance |
| components of painting | binder pigment ground |
| binder in encaustic painting | wax |
| buon fresco painting | working with pigment directly into fresh plaster |
| Eadward Muybridge's photograph are examples of | capturing and object in motion |
| Fredrick Archer accredited with this | wet-plate collodion photographic process |
| When and where were the first photographs produced | 19th century England and France |
| 19th century photographer responsible for calotypes | William Henry Fox Talbot |
| working with wood you must pay attention to | the wood grain |
| pliable clay is made to hold its form permanently through this process | firing it |
| sculptural space that you can actually enter is | an environment |
| how does assemblage primarily differ from other sculptural processes | it utilizes found objects |
| sculptural material most commonly associated with modeling or additive processes is | clay |
| the material most often used for casting is | bronze |
| weft yanrs of several different colors are manipulated to make a design is | weaving |
| ceramics | objects formed with clay and hardened by firing |
| all fiber arts are evolved by | weaving |
| originally, when an artist worked in "the crafts" it meant that they | produced functional objects |
| when and where was porcelain devolved | China 7th century |
| notre dame cathedral is an example of what type of architecture | gothic |
| building method used to build pyramids | load bearing |
| the romans created larger interior spaces in architecture than the greeks because | they combined the use of the arch with the use of concrete |
| gothic period architects liked to use what type of arches | pointed arches |
| the romans perfected which architectural innovation by the end of the first century BCE | the dome |
| Paris exposition in 1889 | eiffel tower |
| Frank Ghery | fluid and experimental |
| slab construction | rolled out like a pie crust and shaped by hand |
| coiling | rolled into long rope-like strands |
| throwing on a potter's wheel | when a piece of clay (with no air bubbles in it) is placed on a spinning wheel and shaped by hands |
| three types of ceramics | earthenware stone ware porcelain |
Created by:
tlketner