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art app module 3
| Question | Answer |
|---|---|
| are the “tools” that artists use to make art. | elements of art |
| elements of art | Line, Value, Texture, Shape, Form, Space, Color |
| mark on a surface that describes a shape or outline. It can create texture and can be thick or thin. | line |
| refers to the description of a line – thick, thin, dotted, etc. | Line quality |
| horizontal, vertical, diagonal, curved, and zig zag | Five basic line types |
| generally restful, like the horizon, where the sky meets land. | Horizontal Lines |
| seem to be reaching, so they may seem inspirational like tall majestic trees or church steeples | Vertical lines |
| tend to be disturbing. They suggest decay or chaos like lightening or falling trees | Diagonal lines |
| tend to be found in nature and are very organic. | Expressive Lines |
| Other lines that are very measured, geometric, directional and angular are called... | Constructive lines. |
| They tend to appear to be man-made because of their precision. | Constructive lines. |
| created when a line becomes connected and encloses space. | Shape |
| It is the outline or outward appearance of something. | Shapes |
| they are 2 Dimensional (2-D) which means there are 2 ways they can be measured. You can measure its HEIGHT and its WIDTH. | Shape |
| There are two basic types of shape. | Geometric shapes, Organic shapes |
| have smooth even edges and are measurable. This include the square, the circle, the triangle and the rectangle. | Geometric shapes |
| more complicated edges and are usually found in nature. Leaves, flowers, ameba, etc. | Organic shapes |
| a three-dimensional object having volume and thickness. | Form |
| has HEIGHT, WIDTH and DEPTH - which is the 3rd dimension. Depth shows the thickness of the object. | Form |
| the degree of light and dark in a design. It is the contrast between black and white and all the grays between | Value |
| the place where the light is coming from, the darkest areas are always on the opposite side of the light. | light source |
| In drawing value can be added several ways: | cross-hatching, stippling, soft shading |
| parallel lines that cross over each other diagonally. The closer together the lines are placed, the darker the value. | cross-hatching |
| the use of dots to create shade. This is accomplished by placing dots very close together to create dark values and farther apart to create lighter values. | Stippling |
| when you use your pencil to create soft gradual movements from one value to the next using full value range. | Soft shading |
| refers to specific hues and has properties of Intensity and Value. | Color |
| a way of showing the chromatic scale in a circle using all the colors made with the Primary triad | color wheel |
| Primary triad | red, blue, and yellow |
| Secondary colors are mixed from the primary colors. | orange, purple, and green |
| Intermediate (tertiary) colors | combination of a primary and a secondary color |
| color schemes | analogous, complimentary color, split complimentary, triadic, monochromatic |
| 3-4 colors “next-door-neighbors” to each other creates... | analogous color scheme |
| 2 colors that are directly opposite each other (going across the center) creates... | complimentary color scheme |
| a complimentary color and the two colors on either side of its compliment | Split-Complimentary |
| uses 3 colors that are equally spaced apart on the color wheel | Triadic |
| When you use only one color plus its tints and shades, you are using a... | monochromatic color scheme |
| color plus white | tints |
| color plus gray | tones |
| color plus black | shades |
| those that have Reds, Yellows and Oranges. | Warm colors |
| seem to advance (or come forward) in an artwork. | Warm colors |
| those that have Blues, Greens and Violets. | Cool colors |
| seem to recede (or go back into) an artwork. | Cool colors |
| the way the surface of an object actually feels. | Texture |
| two types of texture | tactile and implied |
| the way the surface of an object actually feels. | Tactile (or Real) Texture |
| the way the surface of an object looks like it feels. This is the type of texture that artists use when they draw and paint. Textures may look rough, fuzzy, gritty, or scruffy, but can’t actually be felt. | Implied Texture |
| Space is basically divided into 3 parts: | Foreground, Middle Ground and Background |
| considered to be the upper 1/3 of the picture plane. | background area |
| considered to be the middle 1/3 of the picture plane. | middle ground area |
| considered to be the lower 1/3 of the picture plane. | foreground area |
| used when the artist has objects very close to the viewer. | Shallow space |
| may show objects up close but objects are shown far away too. | Deep Space |
| a way that an artwork is divided. | Positive and Negative space |
| the actual object(s) within the artwork | Positive space |
| the area in and around the objects. It is the “background” and it contributes to the work of art | Negative Space |
| when the artist uses a vanishing point on the horizon and then creates a sense of deep space by showing objects getting progressively smaller as they get closer to the vanishing point. | Perspective |
| principles of design | balance, rhythm, scale and proportion, center of interest, unity, variety, harmony |
| a feeling of visual equality in shape, form, value, color, etc. | BALANCE |
| Balance can be... | symmetrical (evenly balanced) or asymmetrical and unevenly balanced. |
| Achieved by placing identical objects on either side of a central point. | SYMMETRICAL Balance |
| Creates a quiet, restful feeling. | SYMMETRICAL Balance |
| Suggests restraint, orderliness, formality. | SYMMETRICAL Balance |
| Also called, FORMAL balance. | SYMMETRICAL Balance |
| Achieved by placing different objects of equal visual weight on either side of a central point. | ASYMMETRICAL Balance |
| Creates more interesting arrangements. | ASYMMETRICAL Balance |
| Suggests informality, relaxed. | ASYMMETRICAL Balance |
| Also referred to as INFORMAL balance. | ASYMMETRICAL Balance |
| a sense of movement in which some elements recur regularly. | RHYTHM |
| relates to the size of a design in relation to the height and width of the area in which it is placed | Scale |
| relates to the parts of the object and how one part relates to another. | Proportion |
| Relates to the actual and relative size and visual weight of the design and its components. | Scale |
| the division of a line or form so that the smaller portion has the same ratio to the larger as the larger has to the whole. | The Golden Mean |
| the least pleasing shape. | Square |
| more pleasing, especially with a ratio of 2:3. | Rectangles |
| This refers to the area that first attracts attention in a composition. | CENTER OF INTEREST/EMPHASIS |
| A composition brought together with similar units or elements. | HARMONY/UNITY/VARIETY |
| There are 2 types of harmony. | Unity, Variety |
| occurs when all the parts of a home or room are related by one idea. | Unity |
| A unified design has consistency of style | Unity |
| when two or more different elements of design are used to add interest to a design. | Variety |
| it is achieved when unity and variety are effectively combined. | Harmony |
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