Question | Answer |
Art | THE CONSCIOUS USE OF SKILL AND CREATIVE IMAGINATION ESPECIALLY IN THE PRODUCTION OF AESTHETIC OBJECTS; THE SKILLFUL PRODUCTION OF THE BEAUTIFUL IN VISIBLE FORM |
TWO-DIMENSIONAL ART | WORKS OF ART THAT EXIST IN 2 DIMENSIONS. THAT CONSIST OF A FLAT PLANE AND ARE CHARACTERIZED BY HEIGHT AND WEIGHT. |
THREE-DIMENSIONAL ART | WORKS OF ART THAT EXIST IN THREE DIMENSIONS; THEY CONSIST OF HEIGHT, WIDTH AND DEPTH |
REPRESENTATIONAL ART | FIGURATIVE. ART THAT ATTEMPTS TO REPRESENT WHAT IS SEEN IN THE WORLD. |
DEGREES OF REPRESENTATION: | 1. REALISM
2. IDEALIZATION
3. STYLIZATION
4. ABSTRACTION |
REALISM | ACCURATE DEPICTION OF THE NATURAL WORLD. |
IDEALIZATION | TRANSFORMING THE REAL WORLD SO IT APPROXIMATES ONE'S IDEA OF PERFECTION. |
STYLIZATION | EMPHASIZES DESIGN RATHER THAN EXACT REPRESENTATION WHEN WORKING WITH NATURAL FORMS. |
ABSTRACTION | EXTRACTING THE ESSENCE OF REAL OBJECTS RATHER THAN FAITHFULLY REPRESENTING THEIR SURFACE APPEARANCE. |
NON-REPRESENTATIONAL | NO REFERENCE IS MADE TO OBJECTS IN THE REAL WORLD. |
FINE ARTS | ORIGINALLY INTENDED TO BE VIEWED AESTHETICALLY (FOR BEAUTY) |
APPLIED ARTS | PRIMARY FUNCTION IS ONE OF USEFULNESS. (SUCH AS BASKETS, VASES, CERAMICS) |
PRIVATE ART | WORKS OF AN INTIMATE SCALE MADE FOR PRIVATE CONTEMPLATION |
PATRONS | FUND THE ART WORKS AND BUYS THE ARTWORK |
PUBLIC ART | ART OFTEN COMMISSIONED BY GOVERNMENTAL OR LARGE ORGANIZATIONS TO BE DISPLAYED FOR ALL IN SOCIETY TO SEE. |
CONTENT OF A WORK OF ART | ITS MEANING, INCLUDING THE SUBJECT MATTER, EMOTIONS, IDEAS, SYMBOLS, STORIES OF SPIRITUAL CONNOTATION IT SUGGESTS |
SOCIOPOLITICAL CONTENT | ART THAT SEEKS TO ENGAGE IN THE SOCIAL AND POLITICAL ENVIRONMENT OF ITS TIME. (HAPPENING IN THE WORLD RIGHT NOW) |
CORPORATE COLLECTIONS | OFTEN SHOW THAT A COMPANY IS BOTH WEALTHY AND WORLDLY AND SOPHISTICATED. |
GOVERNMENTAL COMMISSIONS | CAN BE USED TO PUT FORWARD A POSITIVE IMAGE OF A GOVERNMENT AND ITS CORRESPONDING SOCIETY |
SPIRITUAL PURPOSES | CREATED TO SERVE SPIRITUAL FUNCTIONS SUCH AS INSPIRE OR EDUCATE THE POPULACE OR TO EVOKE OR APPEASE DEITIES. |
INNER EXPERIENCES | PERSONAL EXPRESSION OF THE EMOTIONS WITHIN THE ARTIST. OFTEN CAN BE PERSONAL STORIES AND EXPERIENCES. THESE WORKS CAN ALSO DEPICT THE ARTIST;S OWN PERSONAL SPIRITUAL VISION. |
NAIVE/OUTSIDER ARTIST | AN ARTIST THAT HAS NOT BEEN FORMALLY TRAINED IN THE ARTS. |
MODELS FOR JUDGING ART | 1. FORMALIST APPROACH
2. EXPRESSIVIST APPROACH
3. INSTRUMENTALIST APPROACH |
FORMALIST APPROACH | BASED UPON HOW THE ARTIST MANIPULATES ELEMENTS OF DESIGN, ORGANIZES THEM ACCORDING TO UNIFYING PRINCIPLES AND WIELDS THE MEDIA. |
EXPRESSIVIST APPROACH | EMPHASIZES THE ABILITY OF THE ART TO COMMUNICATE FEELINGS AND IDEAS. ORIGINALITY, INTENSITY AND SINCERITY ARE GIVEN GREATER WEIGHT THAN DESIGN AND TECHNIQUE. |
INSTRUMENTALIST APPROACH | ANALYZES ART PRIMARILY ON THE BASIS OF HOW IT FULFILLS A RELIGIOUS, POLITICAL OR SOCIAL PURPOSE. |
VISUAL ELEMENTS | THE "THINGS" THAT ARTISTS USE TO MAKE WORKS OF ART. THEY ARE LIKE THE INDIVIDUAL INGREDIENTS IN A SALAD. |
LINE | A MARK THAT IS SIGNIFICANTLY LONGER THAN IT IS WIDE. SEEN BEST IN 2-D AND LINEAR WORK. IT SERVES TO DEFINE SPACE AND FORM. |
EDGES | WHERE TWO AREAS THAT ARE TREATED DIFFERENTLY MEET. THESE AREAS ARE OFTEN PERCEIVED AS LINES. |
POSITIVE SPACE | FILLED IN AREAS IN THE PICTURE. |
NEGATIVE SPACE | UNFILLED AREAS IN THE PICTURE. |
CONTOUR LINES | PRESENT THE EXTERIOR OUTLINE OF AN OBJECT. THEY DEFINE THE OUTLINE. |
IMPLIED LINE | A LINE THAT IS VISUALLY SUGGESTED BY THE ARRANGEMENT OF FORMS, LIGHTS AND DARKS OR OTHER ELEMENTS IN A WORK OF ART. |
EYELINES | THE IMPLIED LINES ALONG WHICH A SUBJECT'S EYES APPEAR TO BE LOOKING IN THE WORK OF ART. |
DESCRIPTIVE LINE | SHOWS THE PHYSICAL NATURE OF AN OBJECT WE ARE SEEING AND HOW IT EXISTS IN SPACE. |
DECORATIVE LINE | A LINE THAT PROVIDES SURFACE EMBELLISHMENTS OR DETAILS. |
MASS | THE SOLID CONTENT OF A FORM |
VOLUME | THE SPACE THAT THE MASS OCCUPIES |
VISUAL WEIGHT | THE HEAVINESS OF AN AREA |
DIRECTIONAL LINE | USED TO STEER THE EYE IN A CERTAIN DIRECTION |
RELIEF SCULPTURE | AN IMAGE DEVELOPED OUTWARD OR INWARD FROM A 2-D GROUND. |
LOW RELIEF | FIGURES EXISTS ON NEARLY THE SAME PLANE AS THE BACKGROUND. |
HIGH RELIEF | HALF OF THE FIGURES' NATURAL SPATIAL DEPTH PROJECTS FORWARD FROM THE BACKGROUND. |
FRONTAL WORK | DESIGNED TO BE SEEN SOLELY FROM THE FRONT |
THREE DIMENSIONAL ART | IS DESIGNED TO BE SEEN FROM ALL SIDES. |
WALK THROUGH WORKS | ARE MEANT TO BE EXPERIENCED COMPLETELY BY THE VIEWER. |
CHARACTERISTICS OF 3-D FORMS: | 1. CLOSED FORMS
2. OPEN FORMS
3. STATIC FORMS
4. DYNAMIC FORMS |
FORMS CAN PROJECT HOW: | OUTWARD(CONVEX) OR INWARD (CONCAVE) |
CLOSED FORMS | REFLECT THE RAW MASS FROM WHICH THEY ARE CARVED. |
OPEN FORMS | ALLOW MORE COMPLETE 3-DIMENSIONALITY. |
STATIC FORMS | APPEAR TO BE STILL, UNCHANGING. |
DYNAMIC FORMS | THOSE THAT APPEAR LIVELY, MOVING OR CHANGING. |
METHODS OF HOW 2-D ART IS SHOWED | 1. OVERLAPPING
2. SHADING AND MODELING |
PRINCIPLES OF DESIGN | THE ORGANIZING FACTORS IN THE VISUAL ARTS. (THE ACTUALLY SALAD.) |
OVERLAPPING | SHOWING AN OBJECT IN FRONT OF ANOTHER |
SHADING AND MODELING | USED IN 2-D ART TO BRING ABOUT A SENSE OF SPATIAL DEPTH. |
ORGANIC SHAPE | FREE, REAL WORLD, LIKE TREES |
GEOMETRICAL SHAPES | CIRCLES, SQUARES, ETC. |
HARD EDGED SHAPES | CLEARLY DELINEATED FROM THE SURROUNDING AREAS BY CONTRASTS IN COLOR ALONG THE EDGE WHERE THEY MEET. |
SOFT EDGED SHAPES | EDGES ARE NOT AS PRECISELY DELINEATED. |
SPACE | AN INTANGIBLE ELEMENT THAT IS USED BY MANY ARTISTS. THERE ARE DIFFERENT METHODS EMPLOYED BY ARTISTS TO EXPLORE AND DEFINE THE CONCEPT OF SPACE. |
3-D ART WORK IN SPACE | AT IT'S CORE 3-D ART PHYSICALLY OCCUPIES SPACE AS IT HAS SPATIAL REALITY. |
ARCHITECTURAL FORMS | 1. CAN DEFINE SMALL SPACES.
2. HAVE THE CAPACITY TO DEFINE THE SPACE OUTSIDE OF ITS PHYSICAL BOUNDARIES. |
SCULPTURES | CAN ALSO BE USED TO DEFINE SMALL SPACES. |
2-D ARTWORK SPACE | 2-D ARTWORK IS DEFINED AS FLAT AND SUBJECT TO MAKE AN ILLUSION OF SPACE. |
GROUND | THE FLAT PLANE OF A 2-D WORK. |
FIGURE | OBJECT OR SHAPE ON THE GROUND |
FIGURE-GROUND RELATIONSHIP | THE FLAT PLANE OF A 2-D WORK AND THE OBJECT OR SHAPE ON THE GROUND. |
PLACEMENT | AN OBJECT LOWER ON THE PICTURE PLAN IS OFTEN CONSIDERED CLOSER TO THE VIEWER. |
SCALE SCHANGE | LARGER OBJECTS ARE CONSIDERED CLOSER TO THE VIEWER. |
LINEAR PERSPECTIVE | MATHEMATICAL DEVICE TO SHOW SPACE DEVELOPED DURING THE RENAISSANCE. |
ONE POINT PERSPECTIVE | ALL LINES THAT RECEDE FROM THE VIEWER CONVERGE TO THE SAME VANISHING POINT. |
TWO POINT PERSPECTIVE | PARALLEL LINES CONVERGE TO TWO DIFFERENT VANISHING POINTS |
THREE POINT PERSPECTIVE | PARALLEL LINES CONVERGE TO THREE DIFFERENT VANISHING POINTS. |
ATMOSPHERIC PERSPECTIVE | SHOWS HOW OBJECTS TEND TO LOSE DEFINITION, VALUE, AND CONTRAST WHEN THEY RECEDE IN SPACE. |
POINT OF VIEW | THE ARTIST PLACES THE VIEWER SPATIALLY IN THE PICTURE BY THE POSITION OF THE FIGURES. |
SCALE | THE MANIPULATION OF SCALE CAN OFTEN BE USED TO GIVE THE VIEWER A NEW PERSPECTIVE ON A WORK OF ART. |
ACTUAL TEXTURE | WE CAN FEEL WITH OUR HANDS. |
SIMULATED TEXTURE | VISUAL SENSATIONS OF TEXTURAL QUALITIES ON A SURFACE THAT WOULD ACTUALLY FEEL DIFFERENT IF TOUCHED. |
VALUE | THE RELATIVE LIGHTNESS OR DARKNESS OF AN AREA. MOST EASILY PERCEIVED WHEN COLOR HUES ARE NOT PRESENT. |
VALUE SCALE | THE GRADATIONS OF VALUE FROM VERY DARK TO VERY LIGHT. |
LOCAL VALUE | ACTUAL LIGHTS AND SHADOWS WE SEE ON REAL SURFACES. |
INTERPRETIVE VALUE | VALUES THAT ARE MANIPULATED BY THE ARTIST. |
LIGHTING | THE METHOD IN WHICH A SUBJECT IS LIT. THIS CAN OFTEN INFLUENCE THE WAY A WORK OF ART IS PERCEIVED BY THE VIEWER. |
CHIAROSCURO | THE DEPICTION OF LIGHT AND SHADOW IN 2-D WORK. |
COLOR | DERIVES FROM THE VISUAL WAVELENGTHS VISIBLE TO THE HUMAN EYE. THESE ARE COMMONLY CATEGORIZED IN THE TERMS OF RED, BLUE, YELLOW, ETC. |
REFRACTED COLORS | LIGHT OR ADDITIVE COLORS. |
REFRACTED PRIMARY COLORS | THOSE FROM WHICH ALL OTHER CAN BE DERIVED.
RED, GREEN, BLUE-VIOLET. |
REFRACTED SECONDARY COLORS | THOSE MIXED FROM THE REFRACTED PRIMARY COLORS.
YELLOW, LIGHT BLUE, PINK |
REFLECTED COLORS | THOSE CONSISTING OF PIGMENTS (SUBTRACTIVE HUES) |
PRIMARY REFLECTED COLORS | RED, BLUE, YELLOW |
SECONDARY REFLECTED COLORS | THOSE MIXED WITH THE PRIMARY REFLECTED COLORS.
ORANGE, GREEN, PURPLE |
TERTIARY COLORS | THOSE MADE FROM THE MIXING OF PRIMARY AND SECONDARY COLORS.
EXAMPLE: RED AND PURPLE MAKE RED-PURPLE |
WARM COLORS | THOSE THAT REFER TO FIRE AND HEAT (LIKE RED, YELLOW, ORANGE). TEND TO ADVANCE ON THE PICTURE PLAN |
COOL COLORS | THOSE THAT ARE ICY WATER. LIKE BLUES AND GREENS. TEND TO RECEDE ON THE PICTURE PLANE(LIKE THE BACKGROUND). |
MONOCHROMATIC COLORS | THE USE OF ONLY ONE COLOR OR MAJORITY OF ONE COLOR. |
ANALOGOUS COLORS | THE USE OF COLORS THAT LIE NEXT TO EACH OTHER ON THE COLOR WHEEL. |
VALUE | IN COLOR IS THE LIGHT AND DARK IN A COLOR HUE. |
SATURATION | THE AMOUNT OF PIGMENT IN A COLOR HUE. |
NATURAL COLORS | THOSE THAT ARE ACTUAL COLORS OF A WORK OF ART. |
APPLIED COLORS | ARE ADDED TO A WORK OF ART. |
LOCAL COLOR | BASICALLY THE COLOR OF OBJECTS IN THE REAL WORLD. |
ATMOSPHERIC COLOR | THE VIEW OF THE SUBTLE COLOR REALITIES OF THE WORLD. |
INTROSPECTIVE COLOR | GUIDED BY THE ARTIST'S INTENT TIN CHOOSING THE COLOR. |
KINETIC SCULPTURE | ACTUAL MOVEMENT. WORKS THAT FUNCTION NOT ONLY SPATIALLY BUT THROUGH TIME AS WELL. |
ILLUSION OF MOVEMENT | IN 2-D WORKS ACTUAL MOVEMENT IS IMPOSSIBLE SO AN ILLUSION OF MOVEMENT MUST BE PORTRAYED. |
VISUAL ELEMENTS ARE OFTEN ARRANGED IN A MANNER..... | WHERE THERE IS A COHERENCE AND UNITY. |
REPETITION | REPEATING OF A SINGLE DESIGN ELEMENT |
VARIETY | CHANGE IS USED RATHER THAN REPETITION |
RHYTHM | THE REPETITION OF CERTAIN ELEMENTS CAN LEAD TO PATTERNS WHICH CAN BE PERCEIVED BY THE VIEWER. THE PATTERN CAN ALMOST BE CONSIDERED MUSICAL IN NATURE. |
BALANCE | THE DISTRIBUTION OF APPARENT VISUAL WEIGHTS SO THAT THEY SEEM TO OFFSET ON ANOTHER. |
SYMMETRICAL BALANCE | VISUAL WEIGHT IS EQUALLY BALANCED AROUND A CENTRAL POINT |
RADIAL BALANCE | VISUAL WEIGHT IS ARRANGED AROUND A CENTRAL POINT IN ALL DIRECTIONS. |
ASYMMETRICAL BALANCE | VISUAL WEIGHT OF DISSIMILAR AREAS COUNTERBALANCE EACH OTHER. |
COMPOSITIONAL UNITY | USING COMPOSITIONAL ELEMENTS TO HOLD TOGETHER OR CREATE STRONG ATTACHMENTS BETWEEN ELEMENTS WITHIN A WORK. |
EMPHASIS | THE PREDOMINANCE OF ONE AREA OF ELEMENT IN A DESIGN. |
FOCAL POINT | AWARENESS THAT IS DRAWN TO ONE PARTICULAR POINT OF THE COMPOSITION. |
ECONOMY | THE ABILITY TO PARE AWAY EXTRANEOUS DETAILS. EXAPLES ARE LOGOS. |
PROPORTION | PLEASING TO THE EYE |
RELATIONSHIP TO THE ENVIRONMENT | THE METHOD WHICH A WORK RELATES TO IT'S SELLING CAN GIVE A WORK A MORE COHERENT ASPECT. |