Upgrade to remove ads
Art Part 2
Terms in this set (59)
Refers to the relative degree of lightness and darkness of a take your cute creating various shades, tones, and tints.
An achromatic shift from neutral gray to either high-key or low-key tones.
Can create the illusion of three-dimensional shape, giving positive elements the illusion of volume and visual projection.
The portion of an object that, from the observer's position, receives the greatest amount of direct light.
The darker value on the surface of an object that gives the illusion that a portion of it is turned away from or obscured by the source of light.
The creation of the illusion of roundness, volume or three-dimensional space through the use of highlight and shadow, a.k.a Modeling.
Refers to the relative degree of difference between shades of gray.
The Arrangement or Organization of values that control compositional movement and create a unifying effect by representing a specific, directional light source creating consistent highlights and shadows throughout the composition.
Literally meaning "light, dark" in painting or drawing. The gradual shifting from light to dark through successive gradations of tones creating the illusion of curved, rounded, volumetric shapes. The technique of modeling shape without relying on linear definition, by having subtitle transition through gradations of highlights and shadows.
Values that are limited by edges or boundaries of positive, compositional elements resulting in clearly defined and separable shapes.
Values that cross over shape boundaries into adjoining positive elements and/or negative areas resulting in the integration of shapes with negative space and unifying the composition.
Meaning "Evaporated or vanished into smoke", the technique in which the rendering of shape by means of subtle tonal gradations so as to eliminate any sharply defined contours producing a delicate transition from light to shadow, resulting in a misty, dream-like (soft-focus) effect.
Relating to the differences of light and dark without regard for hue and intensity. An image consisting of white, black, and the limitless degrees of gray pigments.
The relative lightness and darkness of an image or surface as seen in the objective world that is independent of Theatrical/controlled/artificial lighting effects.
Also known as "The Dark Manner", a value technique that exaggerates and dramatically emphasizes the effects of highlight and shadow, creating an abrupt, contrasting transitions between illumination and darkness. The theatrical use of illumination designed to strategically isolate, compositional details, often resulting in a shallow pictorial space by merging positive elements with negative space into depthless darkness, also associated with Open-value Compositions.
Value that stresses the essential flatness of an image and/or surface, denying the illusion of volume or roundness.
A type of shadow that is created when a directional, light source is blocked by an object resting on and/or against a surface resulting in that object producing a projected shadow on the opposite side from the source of illumination. The dark area that occurs on a surface as a result of something being placed between that surface and a light source.
An area within a composition that has defined boundaries that separates it from its surroundings (negative space).
Any shape (form) that creates the illusion of three-dimensional shape within a two-dimensional composition (implied mass). Any shape (form) that has physical dimension occupying real space, such as architecture and sculpture.
The amount of force it would require to move a given object. An object characterized as being compact, dense, weighty, and having measurable or illusionary bulk and solidity.
The amount of space that a substance or object occupies, or that is enclosed within a container.
A regular, uniformed shape comprised of precise straight and/or curved lines. Mathematical in conception, having clearly defined and measurable rectilinear and curvilinear structure as related to the shapes associated with geometry.
Any shape that resembles or suggests a living organism. A shape that is irregular, fluid, gestural in its physical character. A shape that is influenced by or derived from nature.
The area surrounding defined objects and/or figures within a composition. The space that is empty or filled with imagery that is secondary to the main objects and/or figures depicted in a composition. The unoccupied or empty space in a composition that surrounds the positive elements. Ancillary visual elements within a composition that provide additional, necessary visual support (background)for main subject.
A shape without clear definition or defined boarders. A shape that is formless, indistinct, and of arbitrary or uncertain dimensions. A shape that is not defined by interconnecting contour lines or distinct areas of color, i.e., cloud or blob
An irregular shape that resembles the freely developed curves found in nature. A shape that suggests biological forms without having objective organic recognition or identity. A non-specified organic form reminiscent of nature.
Relating or attributed to human motivation, characteristics, or behavior to nonhuman, inanimate objects, animals, or natural phenomena. Ascribing human form or attributes to a thing, natural phenomena, or being that is not human, i.e. deity.
Created by intersecting straight lines. A shape who's boundaries consists of straight lines creating angles at points of intersection.
Created by the connection or intersection of a series of uniformed arcs.
An image of a person, an object or scene represented as a solid shape of a single color, usually black, against a light background resulting in its edges matching the outline of the subject and having no interior details or features.
Ornamenting or enriching, but more importantly in art, stressing the two-dimensional nature of the artwork or any of its elements, emphasizing flatness of a picture plane or surface.
An artistic movement that embraced contemporary, everyday, observable life as subject matter.
The borrowing of pre-existing objects or images with little or no transformation. Artworks that adopt, borrow, or recycle pre-existing objects and images from man-made visual culture with the intention of re-introducing and recontextualizing the object or image giving it new meaning and associations.
The deliberate borrowing of an object or image extracted from pre-existing imagery or original artworks for the sole purpose of exploring the object or image in a new context. The artist comments on the original image's/object's meaning and the viewers association with the original image/object.
The preliminary hues that cannot be broken down or reduced into component colors. They are the basic hues of any color system that in theory may be used to mix all other colors.
A color produced by a mixture of two primary colors.
Color resulting from the mixture of all three primaries in differing amounts or two secondary colors. Tertiary colors are characterized by the neutralization of the intensity and hue. They are found on the color wheel on the inner rings or color leading to complete neutralization.
Designates the common name of a color and indicates its position in the spectrum or on the color wheel.
The purity of hue or its freedom from white, black, or gray. The intensity of hue.
A solid, transparent, geometric object whose two end faces are similar, equal, and parallel rectilinear (triangular) shapes, and whose sides are parallelograms. Used to refract or bend white light into separable, individual, identifiable wavelengths of colors.
The band of individual colors that results when a beam of white light is broken into component wavelengths, identifiable as hues.
The color substances made from mineral, vegetable or animal matter, which, depending on the unique physical and chemical properties of the substance, determines its ability to absorb every color of the spectrum except for the color that is seen, and therefore reflected.
Two colors directly opposite each other on the color wheel. A primary color is complementary to a secondary color, which is a mixture of the two remaining primaries.
Colors that are closely related in hue, and appear next to each other on the color wheel. The range of colors found between a primary and an adjacent secondary colors.
The characteristic of color determined by light or dark or the quantity of light reflected by the color.
Color value adjusted by adding white to a hue.
Color value adjusted by adding Gray (Brit. Grey) to a hue.
Color value adjusted by adding black to a hue.
A color palette that has multiple hues.
A color palette that has only one hue but can be adjusted by adding black, white, or gray thus changing the color's value.
Colors found on the blue-green side of the color wheel, and tend to optically recede in pictorial space.
Colors found on the yellow-orange-red side of the color wheel, and tend to optically advance in pictorial space.
Purity of a hue. Also referred to as color intensity, it is the strength or purity of a hue. A vivid color is of high intensity; a dull color is of low intensity. There are three ways
The sensation of color that is produced when wavelengths of light are reflected back to the viewer after all other wavelengths have been subtracted and/or absorbed. Subtractive color is determined by the physical nature/characteristics of individual pigments.
Color created by superimposing pure light rays. Superimposing the three primary color lights-red, blue, and green-produces white. The secondaries are cyan, yellow, and magenta.
The hue of an object created by the colors its surface reflects under normal lighting conditions. Color that is natural rather than symbolic or dramatic. Color as seen in nature, free from artistic interpretation and subjective manipulation. Color as seen in the objective world such as: green grass, blue sky, yellow sun, etc.
Color that is derived from the mind of the artist, reflecting a personal interpretation of their world through the manipulation and the strategic exaggeration of objective color.
The perception of the color as seen according to varying and ever changing lighting and atmospheric conditions.
Color-field Painting: Associated with Mark Rothko, Clyfford Still, Barnett Newman, and Elsworth Kelly, consisting primarily of singular or vertically stacked, floating rectilinear shapes of flat areas of high saturation, solid color suggesting the illusion that the plans of color stretch beyond the picture frame into infinite space.
THIS SET IS OFTEN IN FOLDERS WITH...
Art History Mid-Term Chapters 1-11
Art 1 Vocabulary
YOU MIGHT ALSO LIKE...
Intro to Painting
NCIDQ - Chapter 8
NCIDQ CH2: Elements of Design
2 Dimensional Design Final Exam
OTHER SETS BY THIS CREATOR
OCS Study Guide
WH2 Exam 2
WH2 Exam 1