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creating 3D art
Creating 3D art - semester
| Term | Definition |
|---|---|
| Presentation | the display of an art work based on thoughtful consideration of how an artwork will be viewed. This may include the creation of a base or pedestal, placement, lighting, framing or hanging |
| Craftsmanship | the quality of neatness and attention to detail |
| Thumbnail Sketch | —small, quick sketches that capture possible sculpture ideas |
| Sketchbook OR Journal | —records research and development of ideas which visually think and problem solve challenges in the creative process |
| Portfolio | holds and displays an artist’s best work OR an assessment tool that shows a student’s progress over time |
| Kinetic Sculpture | any sculpture that moves because of wind, cranks or motors. |
| Armature | the supporting structure under a sculpture |
| In-the-Round | sculpture viewed from all sides |
| High Relief | projects greatly from the sculpture’s flat surface |
| Low Relief | only slight projection from sculpture’s flat surface |
| Relief | sculptures that project from a flat surface |
| Mixed Media | any work of art that uses more than one medium |
| COLOR SCHEMES | —a specific group of colors |
| Monochromatic | tints, tones, shades of one hue |
| Complementary | colors across or opposite on color wheel; creates contrast if side-by-side; lowers intensity if hue is mixed with a little of its complement; can make a gray or brownish color if more is mixed |
| Split-–complement | —a color and the 2 colors on either side of its complement |
| Analogous | 3-5 colors next to each other on color wheel |
| Cool colors | —blues, greens, violets |
| Warm colors | —reds, oranges, yellows |
| Triad— | 3 colors equidistant on color wheel |
| Neutrals | blacks, whites and grays |
| COPYRIGHT | the legal right of creative artists or publishers to control the use and reproduction of an original idea and work |
| Appropriation | the use of borrowed elements in the creation of a new work |
| Plagiaris | copying another person's idea or work, claiming it as original and/or not crediting the source |
| COLOR WHEEL | a circle with different colored sectors used to show the relationship between colors |
| Primary | cannot be mixed; red, blue, & yellow |
| Secondary | primary+primary; green, violet, orange |
| Intermediate (Tertiary) | primary+secondary red-orange, blue-green, yellow-orange, etc. |
| Hue | name of a color (red, blue, etc.) |
| Intensity | Intensity—brightness or dullness of a color; hue + its complement (lowers intensity) |
| Value | lightness or darkness of a color; |
| tint | white+color |
| shade | black+color |
| Kiln | maintains a constant heat high enough to cause a chemical change to take place. Clay is then ceramic. |
| Bone Dry | completely air dried, very brittle |
| Leatherhard | less water, but still workable |
| Plastic | high water content, most bendable |
| States of Greenware | —depends on water content in Clay |
| Glazeware | glaze applied to bisqueware and fired in kiln a second time |
| Bisqueware | clay is fired once in kiln |
| Greenware | clay is NOT fired in kiln yet |
| ART CRITICISM | a systematic discussion of an artwork involving, usually, four stages: description, analysis, interpretation, and evaluation. |
| Description | listing of facts in an art work, such as objects, people, shapes, & color |
| Analysis | examination of relationships among the elements of art and facts in an art work often using the principles of design |
| Interpret | personal explanation of the meaning of an art work |
| Judgment | determines the quality or lasting importance of an art work |
| Critique | analysis of a work of art |
| Opinion | subjective statement about liking or disliking a work based on personal preference rather than a fact. |
| Aesthetic | personal or cultural sense of beauty, i.e., qualities that make something pleasing to look at, listen to, touch, smell, or taste |
| Etiquette | code of verbal and behavioral expectations in society or in a specific setting such as during a critique, in a classroom, museum, or gallery |
| Still life | arrangement of objects that cannot move on their own |
| Portrait | image of a person or group of people |
| Landscape | image of land and natural objects |
| Additive | material is added together or built up |
| Casting | material is taken away or removed |
| Modeling | soft or workable material is shaped |
| Assembling | different kinds of materials are joined together |
| George Segal | —(1924-2000) artist within the Pop Art movement who used plaster gauze strips to sculpt life-size human figure in everyday situations |
| Alexander Calder | —(1898-1976) invented mobiles and stabiles that used abstract and non-objective shapes and forms |
| Renaissance | —(early 1400s-1600s) means “rebirth” of Classical Idealism; originated in Italy; there was great interest in realism, anatomy and linear perspective. |
| Greek Art | —(3000 BC-150 BC) the human body was considered the most beautiful and harmonious object to paint and sculpt. |
| Egyptian Art | —(2500 BC-300 BC) Images were made for practical use, for communication, or for religious purposes. Hieroglyphics was their picture alphabet. |
| Realistic | subject matter that looks real; representational |
| Abstract | identifiable subject matter with simplified or rearranged visual elements |
| Abstract | no recognizable subject matter |
| Architect | designs and directs construction of buildings and environmental areas. |
| Graphic Designer | work with printed words and images to create visual presentations that attract attention, convey ideas, and sell products. |
| Art Therapist | use art to help people with emotional and physical problems. |
Created by:
lcharvey
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