Art 101 Chapters 5-6
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47 terms
Terms | Definitions |
|---|---|
 Shape | a two-dimensional area, the boundaries of which are measured in the terms of height and width. More broadly the form of any object or figure. |
| Mass | any solid that occupies a three-dimensional volume |
| Negative Shape | empty space, surrounded and shaped so that is acquires a sense of form or volume |
| Positive Shape | the figure that commands out attention |
| One-point linear perspective | a version of linear perspective in which there is only one vanishing point in the composition |
| Vanishing point | in linear perspective, the point on the horizon line where parallel lines appear to converge |
| Vantage point | in linear perspective, the point where the viewer is positioned |
| Frontal | an adjective used to describe any object meant to be seen from the front |
| Diagonal | when the vanishing point is to one side or the other, the lines created by this point are referred to as this |
| Linear perspective | a more broad term to include one-point linear perspective and two-point linear perspective |
| Axonometric projection | a technique for depicting space, often employed by architects, in which all line remain parallel rather than receding to a common vanishing point as in linear perspective |
| Foreshortening | the modification of perspective to decrease distortion resulting from the apparent visual contraction of an object or figure as it extends backward from the picture plane at an angle approaching the perpendicular |
| Atmospheric Perspective or Aerial Perspective | a technique, often employed in landscaping painting, designed to suggest three-dimensional space in the two-dimensional space of the picture plane, and in which forms and objects distant from the viewer become less distinct, often bluer or cooler in color, and contrasting among the various distant elements is greatly reduced |
| Chiaroscuro | in drawing and painting, the use of light and dark to create the effects of three-dimensional, modeled surfaces |
| Modeling | in sculpture, the shaping of a form in some plastic material, such as clay or plaster; in drawing, painting, and printmaking the rendering of a form, usually means of hatching or chiaroscuro, to create the illusion of a three-dimensional form |
| Highlights | the spot or one of the spots of highest key or value in a picture |
| Shadow | the unlighted surface of a form rendered by modeling or chiarosuro |
| Core of the shadow | the darkest area on a form rendered by means of modeling or chiaroscuro |
| Case Shadow | in chiaroscuro, the shadow cast by a figure, darker than the shadowed surface itself |
| Tenebrism | "murky" a heightened form of chiaroscuro |
| Hatching | and area closely spaced parallel lines, employed in drawing and engraving, to create the effect of shadow |
| Cross-Hatching | two or more sets of roughly parallel and overlapping lines, set at an angle to one another, in order to create a sense of three-dimensional, modeled space |
| Primary Colors | the hues that in theory cannot be created from a mixture of other hues and from which all other hues are created; namely in pigment, red, yellow, and blue; and in refracted light, red-orange, green, and blue-violet |
| Secondary Colors | Hues created by combining two primary colors: in pigment, the secondary colors are traditionally considered to be orange, green, and violet; in refracted light, yellow, magenta, and cyan |
| Spectrum | the colored bands of visible light created when sunlight passes through a prism |
| Color Wheel | a circular arrangement of hues based on one of a number of various color theories |
| Mediate Colors | are mixtures of a primary and a neighboring secondary color (as on a color wheel) |
| Subtractive Process | if we mixed up all the colors together, we would end up with black, the absence of color, in order to get white we must subtract colors (opposite of light) |
| Additive Process | When we mix light we get white, adding the colors give us white (opposite to pigments and paint colors) |
| Hue | a color, as found on a color wheel |
| Intensity or Saturation | the relative purity of a color's hue, and a function of its relative brightness or dullness |
| Medium | any material used to create a work of art. Plural form, media. OR in painting, a liquid added to paint that makes it easier to manipulate. |
| Palette | Literally, I thin board, with a thumb hole at one end, upon which the artist lays out and mixes colors |
| Analogous Color | pairs of colors, such as yellow and orange, that are adjacent to each other on the color wheel |
| Temperature | the relative warmth or coolness of a given hue/color; hues in the yellow-orange-red ranges are considered to be warm, and hues in the green-blue-violet range are considered cool |
| Complementary Color | pairs of colors, such as red and green, that are directly opposite each other on the color wheel |
| Closed Pallet or Restricted Palette | where an artist only employs a few colors/hues |
| Open Palette | when an artist uses a full range of colors/hues |
| Polychromatic | a color composition consisting of a variety of hues |
| Monochromatic | a color composition limited to a single hue |
| Local Color | as opposed to optical color and perceptual color, the actual hue of a thing, independent of the ways in which colors might be mixed or how different conditions of light and atmosphere might affect color |
| Perceptual Color or Optical Color | color as perceived by the eye |
| En Plein Air | "In the open air" |
| Arbitrary Color | color that has no realistic or natural relation to the object that is depicted, as in a blue horse or a purple cow, but that may have emotional or expressive significance |
| Two-Point Linear Perspective | a version of linear perspective in which there are twovanishing points in a composition |
| Oblique Projection | a system for projecting space, commonly found in Japanese art, in which the front of the object or building is parallel to the picture plane, and the sides, receding at an angle, remain parallel to each other, rather than converging as in linear perspective |
| Simultaneous Contrast | when two complementary colors are placed next to each other with out mixing, complements seem brighter. They eye can only register one of the colors at a time, making them seem more intense and highly charged |
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