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ART Ch 6-9, 11 vocab
ART chapter 6 ,7, 8, 9, 11 vocab
| Term | Definition |
|---|---|
| pigment | coloring material, powdered color compounded with a medium or vehicle |
| binder | substance that allows pigment to be shaped into sticks for dry media or suspended in fluid for liquid media so it will stick to drawing surface |
| metalpoint | the ancestor of the graphite pencil, old technique popular during the Renaissance. drawing medium is thin wire made of silver not forgiving |
| ground or primer | a preliminary coating of paint, how you prepare the drawing surface |
| pastel | pigment bound with a non greasy binder such as solution of gum arabic or gum tragacanth natural gum made from hardened sap in water |
| collage | french term for pasting or gluing (papier colle- is paper) collage is not any specific material |
| cartoon | work is guided by a full-size drawing of entire project, often used to make a mural, |
| medium or vehicle | a liquid that holds the particles of pigment together without dissolving them, the vehicle either acts as a binder or includes a binder |
| binder | an ingredient that ensures the paint, even when diluted and spread thinly, will adhere to the surface. Without this the pigment would simply pointer off as the paint dried. |
| watercolors | example of an aqueous media, can be diluted with water |
| support | canvas, paper, wood panel, wall or other surface on which the artist works |
| encaustic paints | consist of pigment mixed with wax and resin. When the colors are heated, the wax melts and the paint can be brushed easily. |
| fresco | wall painting technique, used for large-scale murals since ancient times, pigments are mixed with water and applied to a plaster support, usually a wall or a ceiling coated in plaster |
| fresco secco | dry fresco |
| buon fresco | true fresco in which paint made simply of pigment and water is applied to wet lime plaster. As the plaster dries, the lime undergoes a chemical transformation and acts as a binder, fusing the pigment with the plaster surface. |
| how is a cartoon used to create a mural? | the contour lines on the drawing are pricked with holes and transferred to the prepared surface by putting over damp plaster and rubbing pigment over holes, cartoon is removed and you have "connect the dots" on the plaster surface |
| tempera | an aqueous medium, vehicle is an emulsion, which is a stable mixture of aqueous liquid with an oil, fat, wax, or resin. most famous vehicle is egg yolk, dries very quickly, commonly build up forms with fine hatching and cross-hatching strokes |
| tempera shares qualities with what other mediums? | shares qualities with watercolor and oil paint. Like oil paint it dries to a tough insoluble film. tempera however retains its brilliances and clarity unlike oil paintings, |
| gesso | a mixture of white pigment and glue that sealed the wood and could be sanded and rubbed to a smooth, ivory-like finish, |
| oil paints | consist of pigment compounded with oil, linseed oil, poppy seed oil and walnut oil are traditional oils, these types yellow over time; now poppy seed oil and safflower oil can be used that don't yellow over time |
| glazes | thin veils of translucent color like stained glass applied over a layer of opaque paint |
| alla prima | aka direct painting or wet-on-wet. Italian for at first, artists who favor a less fussy more spontaneous approach work directly in opaque colors on the white ground, |
| Gouache | watercolor with inert white pigment added (inert white pigment is pigment that becomes colorless or virtually colorless in paint.) makes colors appear opaque, at full strength they can completely hide the background |
| acrylics | new synthetic artists' colors, more exact name is polymer paints, vehicle consists of acrylic resin, polymerized through emulsion in water. As the paint dries, the resin particles coalesce to form a tough, flexible and waterproof film. |
| impasto | Italian for "paste", a thick application of paint, acrylics can be layered this way |
| easel paintings | paintings executed on an easel or similar support |
| mosaic | made of small, closely spaced particles called tessera embedded in a binder such as mortar or cement, |
| tesserae | small closely spaced particles, function similarly to dots in a pointillist painting, each contributes a patch of full color that you can see at a certain difference |
| similarity and difference between fresco and mosaic | like fresco well suited to decorating architectural surfaces such as walls or ceilings: unlike fresco, sturdy enough to stand up to the elements so can be used as floors and outdoor surfaces |
| sketches | ideas quickly jotted down for later development |
| Nib | the part of a pen that conveys ink to the drawing surface, the line a pen makes may be thick or thin, even in in width or variable, stubby and coarse or smooth and flowing |
| rapidograph | a metal tipped instrument that channels a reservoir of ink into a fine , even unchanging line |
| an image created from a master wood block, stone, plate, or screen, usually on paper. Referred to as MULTIPLES because as a rule many identical or similar are made from same printing surface. | |
| matrix | surface on which a design is prepared before being transferred through pressure to a receiving surface such as paper. Single matrix can be used to create many impressions that are almost identical and considered an original work of art. |
| impression | the printed image left on the surface of a paper using a matrix. Many impressions can be made by using one matrix. Each impression is considered an original work of art. |
| How do you distinguish an original artist print from a commercial reproduction? | 1)artist performs or oversees the printing process and examines each for quality. signs each approved, destroys rejected 2) there may be a declared limit to the number of impressions that will be made. Then the printing surface is cancelled |
| How do you cancel the printing surface? | canceled by scratching cross marks on it or destroyed so no more prints can be made |
| edition | number that is written by the artist on each approved impression along with the number of the total number of editions. for example 10/100 means it is the tenth of 100 editions |
| What are three historical methods for making art prints? | relief, intaglio, and lithography |
| relief | any printing method in which the image to be printed is raised from a background. Similar to. a rubber stamp. The image stands out from the background in reverse. You press the stamp to an ink stamp and then to paper and the words print right side up . |
| woodcut | image is drawn on a block of wood. all areas not meant to print are cut Along the grain out of the wood so the image stands out in relief, then block is inked and pressed onto paper or paper laid on block and rubbed. Earliest woodcut image made in China. |
| engraving | an intaglio printmaking method in which lines are cut into a metal plate using a sharp tool called a Burin, which creates a clean, V-shaped channel. |
| burin | a sharp tool used to engrave which makes a clean, v-shaped channel. |
| What artist used traditional wood cutting techniques with a modern subject"? | Kathe Kollwitz |
| registration | making sure that carving blocks would align correctly when printed, with no unwanted gaps or overlapping in the colors. |
| wood engraving | uses a block of wood as the matrix. it is created on a surface and cut ACROSS the grain, an end grain block. the tools used for wood engraving cut fine, narrow channels that show as white lines when the block is inked and printed. |
| linocut | a linoleum cut is softer than wood so it is easier to cut than a woodcut. The number of crisp impressions is limited since the block wears down more quickly during printing. It has no grain so you can make cuts in either direction easily. |
| intaglio | Italian word "to cut" It is the reverse of relief- the areas meant to print are below the surface of the printing plate. Artist uses a sharp tool or acid to make the depressions in a metal plate. When the plate is inked the ink sinks into the depressions |
| intaglio continued | the ink sinks into the depressions then the surface of the plate is wiped clean. When dampened paper is brought into contact with the plate under pressure the paper is pushed into the depressions to pick up the image. |
| What are 6 types of intaglio printing? | engraving, drypoint, mezzotint, etching, aquatint, and photogravure |
| drypoint | similar to engraving, except that the cutting instrument used is a drypoint needle. Artist draws on a plate (usually copper) almost as freely as pencil on paper. If left in place the burr will hold ink. |
| Mezzotint | a reverse process in which the artist works from dark to light. First plate is roughened. lighter tones are created by smoothing or rubbing the rough spots so they do not trap ink. Used to reproduce black and white paintings to make them available. |
| Etching | done with acids which "eat" lines and depressions into a metal plate. Artist first coats the printing plate with a ground, then draws on the plate with an etching needle exposing bare metal where you want print. ground is removed and then inked, printed |
| ground | made from beeswax, asphalt, and other materials it is an acid resistant substance artists use to coat the printing plate for etching |
| aquatint | variation on etching process it is a way of achieving flat areas of tone (no lines) - gray or intermediate values of color. dust plate with resin, heat plate, resin acts like a cid produces surface to hold ink, longer acid bath more ink, darker it prints |
| stopped out | a process where you paint with an acid-resistant varnish so that the white of the paper will show through untouched. lighter tones can be stopped out next and then the 2nd lightest tone and so on until all the desired tones have been achieved. |
| photogravure | an etching technique for printing photographic images, can print continuous tones from light to dark, like aquatint it uses a resin to create a plate to hold tone, gelatin and UV light are used (pg190) |
| lithography | invented to find inexpensive way to print music, a planographic process which depends on the principle that oil and water do not mix, image drawn on stone with a greasy material, use water, oil sticks to greasy areas repelled by damp (pg 191) |
| planography process | the printing surface is flat, not raised as in relief or depressed as in intaglio. depends on the principle that oil and water do not mix. (lithography and monotype are planographic processes) |
| screenprinting | printmaking method in which the image is transferred to paper by forcing ink through a fine mesh in which the areas not meant to print have been blocked, a stencil technique |
| silkscreen or serigraphy | "silk writing" because silk is frequently used for screenprinting it has often been called silkscreen |
| monotype | the exception to the rule that printmaking is an art of multiples. a planographic method resulting in a single impression. Typical technique is to paint oil design on glass or metal, while still wet paper is laid over it and pressure applied to transfer |
| inkjet | definition has been blurred with acceptance of digital inkjet prints as a fine-art medium |
| camera | light reflected from an object can project an image of that object onto a surface, a light-tight box with an opening at one end to admit light, a lens to focus and refract the light, and light-sensitive surface to receive light-image and hold it. |
| computer | first true computer built around 1938, beginning around 1980 was the digital revolution |
| Mo Ti - Chinese Philosopher | noticed that light passing through a pinhole opening into a darkened chamber would form an exact view of the world, but upside down |
| camera obscura | latin for dark room, make by piercing a small hole into a dark room or box. hold sheet of white paper and you will see an image of the scene outside the room projected on the paper upside down and blurry |
| heliograph | or sun-writing was the first permanent photograph but the method was not really practical. Niepce used a specially coated pewter plate in the camera obscura to get a fuzzy version after 8 hours. |
| daguerreotype | invented by Daguerre it was an invention, a light-sensitive copper plate coated with silver iodide, that created an image that was clear and sharp , person had to stand still for 10 or 20 minutes |
| positive image | an image in which light and dark values appear correctly. this image is unique and cannot be reproduced. The plate is the photograph. |
| negative image | an image in which light and dark values were reversed. This negative could be used again and again to create multiple positive images on light-sensitive paper. |
| calotype | an early version of the negative/positive print process which used a paper negative, toward the middle of the 19th century the negative was produced on glass |
| Julia Margaret Cameron | explored more poetic effects with softened focus and a moody play of light and shadow |
| Kodak | George Eastman developed this camera that changed photography forever. It was lightweight and handheld which meant it could be taken anywhere. Slogan was "you press the button, we do the rest" pictures became known as snapshots |
| snapshots | pictures taken with Kodak camera became known as this, developed and printed photographs were returned to person along with new film in the camera |
| First important conflict to be documented in photgraphy | American Civil War- posed portraits and images of the dead |
| Dorothea Lange | photographed famous photo Migrant Mother from the period of the Great Depression |
| Raghubir Singh | Indian photography that was color portraits for purpose of capturing momen of unexpected beauty and mystery |
| Painting and Sculpture | was freed from recording events and appearances once photography was developed and took over this area, now painting and sculpture could move to nonrepresentation art |
| Pictorialist movement | movement that sought to have photography accepted as an art. embraced labor-intensive printing techniques that allowed them to blur unwanted detail , enhance tonal range, soften focus and add highlights and delicate veils of color. from 1889- WWI |
| "pure" or "straight photography" | did not crop or manipulate their photographs in any way as a point of honor |
| Dada | An international art movement emerged during WWI. created "anti-art" that emphasized absurdity, irrationality, chance, whimsy, irony and childishness. Deliberately shocking or provocative works were aimed at disrupting public complacency |
| Artistic expression | protected as a form of free speech under our Constitution's First Amendment. Free speech is not absolute and the Supreme Court has historically held that works deemed obscene may be banned. The problem lies in defining it. |
| Andreas Gursky | uses film and digital tech to creat works like Shanghai and uses photo-editing software |
| Eadweard Muybridge | Horse Galloping - used 24 cameras to see if horses feet leave the ground when they are galloping |
| Persistence of vision | this is what a film depends on- the human brain retains a visual image for a fraction of a second longer than the eye actually records it. |
| motion picture film | is NOT real motion, but it is a series of still images at the speed of 24 frames/second, film can tell stories |
| First Genuine motion picture | created in Thomas Edison's laboratory in 1894. it lasted only a few seconds. It was made on celluloid called "Fred Ott's Sneeze" |
| animation | takes advantage of the fact that although a film camera can shoot continuously as motion unfolds, it can also shoot a single frame of film at a time. 12-24 drawings are needed per second of running time. |
| pixilation | method of shooting a single frame at a time then shifting the object and shoot again and then the object appears to move; can be used for hand drawn animation also |
| Art Cinema | 1920's expression that photography could be practiced as an art, an independent movie that did not conform to popular storytelling techniques or aim to please a mass audience. films shown in small specialized theaters. |
| auteur | a director whose films are marked by a consistent, individual style, just as traditional artist's paintings or sculptures are. |
| video | was invented to allow moving images captured by a camera, video camera converts a moving image into electronic signals. The signals are transmitted to a monitor, which decodes them and reconstitutes the image for display. Tv is an example |
| TV | the most famous monitor in which video was transmitted to, by 1950's everyone had TV's |
| digital video | became available in the 1990's. access to editing, adding sound, and creating special effect...technology that allowed video stored digitally on disk projected on wall or monitor too. |
| The internet | the computer is a place. images can be created, stored and looked at on a computer without being given a traditional material form; World wide web, browsers; global in scope and accessible to everyone |
| Internet art | art that uses the internet as a medium, also called net art, in the form of e-mails, Web pages, or software that can be executed by a computer, it is often interactive |
| Second Life | 3-D Virtual-reality environment, "residents" can buy property, build, travel, explore, play, party and meet other residents |
| I.Mirror | a new artistic practice called machinima, from machine cinema in which real-time computer generated 3-D video form online games or Second life is recorded and used as raw materials for a film. |
| Post-internet art - Map | large wooden sculpture that materializes temporarily the marker google drops on its online maps to indicate a location, switched to satellite view, the pin remains as part of the real world. He brings his sculptural marker to a city and sets it up. |
| in the round (sculpture) | a freestanding work that can be viewed from any angle, for it is finished on all sides. |
| relief (sculpture) | a sculpture in which forms project from but remain attached to a background surface, meant to be viewed frontally, the way we view a painting. |
| bas relief | aka low relief, technique in which the figures project only slightly from the background. Coins are an example. |
| high relief | a sculpture in which forms project more boldly from their background, generally project to at least half their understood depth. Foreground elements may be modeled in the round detaching themselves from the background altogether |
| Four basic methods for making a sculpture | modeling, casting, carving, and assembling |
| modeling and assembling | additive processes in making a sculpture, begin with simple framework or core or nothing at all and adds material until sculpture is finished |
| carving | subtractive process in making a sculpture, one starts with a mass of material larger than the planned sculpture and subtracts or takes away material until the desired form remains |
| casting | involves a mold of some kind into which a liquid or semiliquid material is poured and allowed to harden, common materials include bronze, plaster, clay, and synthetic resins |
| terra cotta | fired clay, Italian word, very durable, much of the ancient art in this material has survived |
| most direct of sculpture methods | modeling- the workable material responds to every touch, light, or heavy, of the sculptor's fingers |
| most indirect of sculpture methods | casting, sometimes sculptor never touches the piece at all |
| casting | the process of making a sculpture or some other object by pouring a liquid into a mold, letting it hard, and then releasing it. Common materials used for casting include bronze, plaster, clay and synthetic resins, extremely durable, no fear of breakage |
| lost-wax process | most common method for casting metal, clay core is used, melted wax is put over clay leaving empty channels, molten bronze poured in, clay mold is broken to free the sculpture in metal, can remove core or not (pg. 245) wax original is destroyed-original |
| indirect or investment casting | plaster, modern type of casting allows multiples to be made, sculpture finished in clay, plaster and mold is formed around solid sculpture, mold is removed from sculpture in sections then reassembled, melted wax is put in then removed (Pg 246) |
| investment | is the plaster, the plaster or investment is heated so the wax melts and runs out then metal is poured into the resulting void and investment is broke away to free the casting, Key difference is the mold makes the wax casting reusable-multiples made |
| slip | ceramic cast in a liquid form, made by mixing powdered clay with water and a deflocculant |
| deflocculant | an ingredient that prevents the clay particles from clumping together |
| synthetic resin | formulated for casting is a clear liquid that cures (solidifies permanently) through a chemical reaction triggered by mixing it with a second liquid, known as a catalyst or curing agent. resin is cat in a rubber mold, pigment can be added...(pg 247) |
| carving | in sculpture, a subtractive technique in which a mass of material such as stone or wood is shaped by cutting and/or abrasion, more direct than modeling |
| assembling | a process by which individual pieces or segments or objects are brought together to form a sculpture (some say objects put near each other) (call objects that are actually joined together constructing) |
| constructing | parts are actually joined together through welding, nailing, or a similar procedure. (book uses assemblage for both types of work- objects near each other or joined) |
| common subject for sculpture | human figure, represents desire to leave a trace of ourselves for future generations, used to memorialize heroes |
| presence | sculpture exists i three dimensions to bring it into the world gives it a presence that is close to life itself, ancient world statues were believed to have a relationship to life (pg 253 examples in China and Greece) |
| contrapposto | distinctive stance that the greeks set the body in, it is a gentle S-shaped curve through the play of opposites, counterbalance of body parts left hip raised, right shoulder raised to counterbalance, means "counterpoise" or "counterbalance" |
| primitivism | refers to something that is less complex, less sophisticated, or less advanced that what it is being compared with or an earlier stage of it; can be done in an unbeautiful unsophisticated way |
| earthwork | a work of art made for a specific place using natural materials found there, especially the earth itself. one way to move away from art as an object that can be bought or sold; such works are incidents in the landscape like a rock , tree, stream |
| installation art | artist modifies a space in some way and then asks us to enter, explore and experience it. |
| minimalism | art movement of the 1960s, minimalism was part of an ongoing arguement about the appropriate purpose, materials, and look of art in teh modern era. |
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murphy1717