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. |