| Term | Definition |
|---|
| Line | A mark of greater length than width |
| Shape | An area enclosed by a line or series of lines |
| Form | A shape that has or appears to have depth (volume or a third dimension) |
| Color | The response of vision to the wavelengths of light |
| Value | The amount of light reflected by a surface. |
| Texture | The way an artwork feels or appears to feel to the touch. |
| Space | The volume taken up by and surrounding forms or shapes. |
| Unity | The whole artwork "working". All of the elements working together to create a pleasing whole. |
| Movement | Arrangement of the elements to lead the viewer's eye around the composition (artwork) instead of having it remain fixed. |
| Balance | Equilibrium. Any of the elements can be arranged to create this symetrically or asymetrically |
| Variety | Difference |
| Emphasis | Drawing special interest to the most important part of an artwork. |
| Rhythm | A visual "beat" A pattern regularly or irregularly repeated |
| Proportion | Size or quantity relationships |
| Principles of Design | Ways the elements of art can be arranged to achieve effective art works |
| Elements of Art | The basic "building blocks" of every artwork |
| description | The first step of a 4 step Feldman criticism in which you tell/show the reader/viewer what artwork you are criticizing |
| analysis | The second step of a 4 step Feldman in which you discuss elements and principles, media and technique |
| interpretation | The third step of a 4 step Feldman in which you hypothesize about the meaning of the artwork and support that hypothesis with evidence from the artwork |
| judgment | The last (4th) step of a Feldman in which you determine how successful the artwork is based on at least 2 aesthetic theories |
| imitation | The aesthetic theory a person uses who judges an artwork based on how realistic or abstract it is |
| formal order | The aesthetic theory a person uses who judges an artwork based on how well designed or technically crafted it is |
| instrumental | The aesthetic theory a person uses who judges an artwork based on its utility (usefulness or functionality) |
| expression | The aesthetic theory a person uses who judges an artwork based how much meaning or feeling it conveys to the viewer |
| Brunelleschi | This artist and architect developed a scientific system of linear perspective for use by visual artists |
| Giotto | This artist pre-dated the development of scientific linear perspective and so the perspective in his paintings was approximate and did not recede to a single vanishing point |
| Massacio | This artist was the first to employ the scientific system of linear perspective in his painting "The Trinity" |
| Mantegna | This artist experimented with unusual viewpoints |
| Ucello | This artist was so in love with perspective that he created a drawing of a fountain that looks as if it could have been done on a computer |
| Durer | This artist was from the North but contributed to the study of perspective and even helped develop multiple vanishing point perspective |
| Leonardo | This artist used the technique of atmospheric perspective and even wrote about the phenomenon in his journal |
| Holbein | This artist created a piece of anamorphic art that has an image of a skull smeared across the bottom. His name means hollow bone |
| Raphael | This "final master" of the Renaissance painted "The School of Athens" showing famous thinkers of antiquity and used himself and other famous artists as models |
| Michelangelo | This artist painted the ceiling of the Sistine Chapel with many carefully shaded figures |
| orthogonal | Perspective (imagined) lines pointing to the vanishing point are referred to as _______ lines |
| horizon | The eye line or eye level in perspective drawing is also called the _________ line. |
| vanishing point | Orthogonal lines converge at the ____________ |
| Kuniyoshi | This Japanese printmaker loved plays and actors and made many prints depicting them |
| Hokusai | This Japanese printmaker did a series called Thirty-six Views of Mount Fuji |
| Ukioyo-e | The Japanese art of printmaking is called _________ (It literally means "pictures of the floating world") |
| Brayer | Tool used to charge the block (not "roller" but proper name) |
| registration | In printmaking, the process of getting your colors and values to line up is called, |
| reduction printing | In this printmaking process the same block is used for each sucessively darker value and the block is destroyed in the process. |
| linoleum | The printing blocks we used were made out of (not the styrofoam ones) |
| wood | Japanese printmakers used this material for their blocks. |
| away from you | When carving a print block, what direction should the blade be moving? |
| wedging | What initital technique does one use when working with more than 10 lbs of clay? |
| kneading | What initial technique does one use when working with less than 10 lbs of clay? |
| bisque | The initial firing of dried clay pieces (greenware) is called _______ fire |
| glaze | The second firing of clay pieces to which color or clear material has been applied is called the ______ fire. |
| kiln | Name of the oven in which clay is fired. |
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