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Formal Evaluation

Terms in this set (54)

form
refers to the total physical/ visual characteristics of an object (material, color, shape, design, etc)
subject
the physical thing/ object, real or imagined,
content
the message or meaning of a work of art, what the artist wishes to express to viewer
iconography
subjects, symbols, and motifs in an image which convey meaning through establidshed convention
Line; Shape; Space; Time/Motion; Light/Value; Texture; Color
the elements are the building blocks of art
actual line
is physically present
implied line
is filled in by the eye
shape
active posotive objects
ground
empty, background, negative space
figure ground reversal
occurs when the background color/ shape in one area of a composition acts as the figure in another area of the composition
perspective
refers to any system of representing three- dimensional objects in space on a two-dimensional surface
horizon line
represents eye level
vanishing point
parallel lines appear to meet at this
atmospheric/ aerial perspective
faraway objects appear bluer, less distinct, less intense, with less contrast
kinetic sculpture
uses actual motion as a main feature
value
refers to both absolute and relative lightness and darkness of surfaces
chiaroscuro
is the use of shading from light to dark tocreate the illusion that forms depicted in a 2-d have actual bulk
hue
wavelength, spectral color, refers to a particular wavelength of spectral color to which we give a name, such as yellow, green, or blue
value
relative lightness or darkness
intensity/ saturation
purity, brightness or dullness
achromatic
Black, white and gray, are without hue not truly colors at all
additive color mixture
describes the mixing of individual colors of light itself
subtractive color mixing
describes the mixing of pigments (as in ink or paint)
temperature
refers to the physical and psychological warmth or coolness of a hue
complementary colors
are directly opposite one another on the color wheel
tint
a way to change inherent value by adding white
shade
a way to change inherent value by adding black
intensity or saturation
refers to the purity of a color (described in terms of bright vs dull)
tone
adding gray to a hue creates this
analogous colors
are adjacent to one another on the color wheel
chromatic grey
mixing complementary hues creates this
achromatic color scheme
lacks any hue (uses only black and white)
monochromatic color scheme
uses variations in value and\ or intensity within a single hue
analogous color schemes
uses colors which are adjacent to one another on the color wheel
complementary color scheme
uses 2 hues which lie opposite from one another on the color wheel
split- complementary color scheme
uses a hue plus the hues on either side of its complement
triadic color scheme
uses 3 hues which are evenly spaced around the color wheel
Unity, Variety, Balance, Contrast, Emphasis and Subordination, Directional Forces, Repetition and Rhythm, Scale and Proportion
the principles that describe how the visual elements (line, shape, color, etc) are organized I'm in order to best convey the artists intention
unity
the appearance of oneness
variety
provides diversity; keeps a unified composition from becoming boring
repetition
the recurrence of elements (lines, shapes, etc) within a design
rhythm
the structuring of dominant and subordinate elements to create a sequence that paces the viewers eye
balance
an achievement of equilibrium in which acting influences are held in check by opposing forces
symmetry
near or exact matching of left and right sides (as a mirror image or rotated around a center point)
asymmetry
lacks symmetry, elements balanced by size and visual visual weight
principles of visual balance
a large form is heavier (more attention getting) than a small form
a form gathers visual weight as it nears the edge of a picture
a complex form is heavier than a simple form
principles of color balance
warm colors are heavier than cool colors
intense colors are heavier than a weak or pale colors (tints and tones)
the weight of any color increases as the background color approaches its complementary hue
emphasis
draws attention to an area (spot to which attention is drawn is called a focal point)
subordination
use of neutral areas of lesser interest that keep viewer from being distracted
directional forces
"paths" for the eye to follow, provided by actual or implied lines, and by connections between major forms
strong contrast
juxtaposition of strongly dissimilar elements (dark against light, bright against dull, etc)
strong contrast
implies more abrupt transitions
scale
how big is it (in absolute terms)
proportion
refers to the size relationship of parts to a whole (or the size relationship between different parts of the same whole)
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