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Sophomore Review Exam
Terms in this set (58)
Elements of Design
Basic structural components of art
Principles of Design
General guidelines for organizing a work of art
A path or mark made by a moving point
A measure of relative lightness and darkness
The appearance of height, width, and depth in a form
The tactile surface characteristics of a work of art that are either felt of or perceived visually
The two-dimensional surface on which shapes are organized into a composition.
The presentation of an integrated image. An agreement that exists between the elements of design.
A device used to create visual excitement through repeated but altered elements of design.
The whole is greater than the sum of its parts
Focal Point/ Emphasis
The design principle that focuses a viewers attention by accentuating certain elements through the use of contrast, placement, or by isolating an element.
The size of the object
A design principle that is said to exist when the right and left sides of a composition bears visibly different shapes, colors, textures, or other elements, yet that are arranged or "weighted" in such a way that the impression, in total, is one of equal visual weight.
Size measured against other elements or against a mental norm or standard
The placing of identical forms to either side of the central vertical axis of a work to stabilize it.
An all over pattern that creates no focal point. A type of visual balance
Based on repetition of recurrent motifs, same or slightly modified
Using the same visual element over again within the same composition.
An invisible line created by positioning a series of points so that the eye will connect them thus creating movement across the picture plane.
A system of representing three-dimensional objects in space on a two dimensional surface.
The organization of the visual elements and principles in a work of art.
An idea conveyed through the artwork that implies the subject matter, story, or information the artist communicates to the viewer.
A type of artwork with absolutely no reference to, or representation of, the natural world. The artwork is the reality.
A line used to follow the edges of forms and thus describe their outlines.
Unoccupied areas of empty space surrounding the objects or figures in a composition.
A visual representation that may have little resemblance to the real world. It can occur through a process of simplification or distortion in an attempt to communicate an essential aspect of a form or concept
A line that does not stay at the edges but moves freely within forms. These lines record movement of the eye as well as implying motion in the form.
Use of symbols to create meaning
A brightly lit area that appears as a luminous spot in a work
The treatment and use of light and dark using gradations of light to show modeling in 2D work.
Pieces that tell a visual story
A live experience conducted or set up by the artist.
Basic hues from which all other hues can be mixed
A mixture of any two primary colors
A color scheme incorporating opposite hues on the color wheel. These colors accentuate each other in juxtaposition
A color scheme using only one hue with varying degrees of value or intensity.
Hues that lie next to each other on the color wheel
A measure of the relative purity and brightness or grayness of a color also called "chroma" or "intensity."
Red, Orange and Yellow hues. These hues come forward in an artwork.
Green, Blue and Violet hues. These hues recede in an artwork.
Referring to works expressly designed for and installed in a particular location.
A relatively solid volume with little negative space
Works designed to move and perhaps change through time.
Any one of the various methods of kneading a mass of clay to expel the air, get rid of lumps, and prepare a homogenous material.
Any form that can be used to shape a fluid or plastic substances. In ceramics, usually the negative form from which pottery or sculpture can be cast by pouring or pressing methods using either liquid slip or damp clay.
The condition of a clay body when much of the moisture has evaporated and shrinkage has just ended, but the clay is not totally dry. Carving, burnishing, or joining slabs are often down at this stage.
A firing in which insufficient air is supplied to the kiln for complete combustions. Under these conditions, the carbon monoxide in the kiln combines with the oxygen in the oxides of the clay body and glaze, causing the oxides to change color.
The ability of a damp clay body to yield under pressure without cracking and to retain the formed shape after the pressure is released.
A framework of any rigid material used as a support while building clay sculpture. Most of these must be removed before firing.
Crushed or ground particles of fired clay graded in various sizes of particles. Added to the clay body to help in drying, to add texture, and to reduce shrinkage and warpage.
A furnace or an oven built of heat-resistant materials for firing pottery or sculpture.
Unglazed ceramic ware that has been fired at a low temperature to remove all moisture from the clay body and to make handling easier during glazing.
Small pyramids of ceramic material formulated to bend over and melt at designated temperatures.
Three-dimensional modeling that is raised only slightly above a flat background.
Pottery that has been fired at a low temperature (below cone 2) and is porous and relatively soft. Usually red or brown in color. Used worldwide for domestic ware, glazed or unglazed.
In sculpture, the act of giving three-dimensional form and detail to plastic clay, using fingers or tools.
The firing during which glaze materials melt and form a vitreous coating on the clay surface.
A combination of an element with oxygen. In ceramics, these are used in formulating and coloring glazes and clay bodies. They are also used in solution with water for decorating ware.
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