art test tomorrow... eh...
1. achromatic greys - grays without color, mixes of pure black and white, no chroma/ color used.
2. ambiguity - when relationships between elements become unclear
3. anticipated motion - a empathetic response created by a piece, i.e. kinesthetic empathy, can be created by implied lines and gestures
4. chiaroscuro - a technique developed in the renaissance to refer to the use of light and shadow to to imply depth and volume in a painting or drawing. Combination of the italian words for dark and light.
5. closure -
6. composition - usu. Synonymous with “design,” implies similar feeling of organization, not simply a careless scattering of random items around a format. Creation of a unified pattern from varied elements.
7. content - the subject matter, story or information that the artwork seeks to communicate to the viewer. (vs. form, which is purely visual)
8. contrast - when one element differs from another. Contrast can be used to create focal points. Contrast of scale can also help create depth.
9. creative process: thinking, looking, doing - these activities non-sequential and not independent procedures. Overlap, may be preformed simultaneously or by jumping back and forth.
thinking - what is to be achieved? What are the visual stylistic requirements? What are limitations? When is solun needed? Use of symbols to communicate idea/ theme, consider audience, form and content, form and function
looking - observing nature and objects, design, art, expand possibilities of expression by viewing others’ work. Source vs. subject: they are different, subject tied to content. History and culture, well known images-> vernacular
doing- thinking with materials, doing and redoing, leaving a record of the process to expand upon
10. design - a plan, organization, the opposite of chance, organized solution to a process. Communication of concept inextricably linked with the design. Problem solving using content and form4,6 12, 34-6
11. dominant
12. elements of design - color, illusion of motion, illusion of space, line, shape, vol, texture, value
13. figure - the positive element, object
14. form - the purely visual aspect, the manipulation of the various elements and principles of design. Form is how they communicate their content.
15. format
16. gestalt - a theory of visual psychology, the viewer tends to attempt to piece together some sense of pattern and unity. If they cannot, they ignore the image. If they can, they pay attention.
17. golden mean, golden rectangle - influences of design throughout the centuries, length is to width as length is to length plus width (golden ratio) tied to fibonacci sequence. Common in music, nature, human body, and design. 3: 5 proportions well suited tovertical figures and horizontal landscape paintings.
18. greyed neutrals - aka chromatic grays, grays made from mixtures of colors. Every color simultaneously has a corresponding value. i.e. yellow is very light, purple very dark.
19. ground - the negative element, space on which the object is moved
20. harmony - a term related to unity, (the presentation of an integrated image, agreement among all elements in design, have some visual connection beyond mere chance). If elements inharmonious the pattern falls apart and lacks unity.
21. high value (high key? 226)
22. ideal proportion
23. implied motion - often caused by relation to past experience and memory, recogniton of unstable positions and understanding that changing them is unavoidable. Also related to kinesthetic empathy.
24. implied texture
25. illusion of motion- abstract art, such as op art, splatters, speed lines, etc. kinesthetic empathy, anticipated motion by design (as in cars that look fast), repeated figures, cropped figures, blurred outlines, multiple images
26. low value - term referring to kind of contrast where any two adjoining values are only slightly different
27. negative - the space upon which a positive object makes an impact. Empty space
28. positive - an object/ element/ shape that creates negative space on the ground
29. principles of design
30. perception 144,45
31. proximity - used to create unity, to make separate elements look as if they belong together, it is simply putting the objects closer together, close proximity. Common unifying factor, can be used to create implied shapes within a design.
32. sympathetic response - e.g. kinesthetic empathy
33. scale - essentially another word for size. Proportion refers to relative size, i.e. has scale reference. Can be used to emphasize elements/ focal point, internal proportions change total effect., contrast of scale for dramatic effect, scale confusion for surrealism and fantasy
34. source - the result of looking, influence expanded upon for a solution, intimately connected with the subject, but not necessarily the same as.
35. subordinant
36. subject - tied to the content of the work and to the artist’s way of seeing.
37. tactile - texture that can actually be felt, i.e. impasto
38. value contrast - the relationship between areas of light and dark.
39. visual unity - the whole must be predominant over the parts. Must first see the whole pattern before you notice individual parts. If you only see parts no unity exists.
2. ambiguity - when relationships between elements become unclear
3. anticipated motion - a empathetic response created by a piece, i.e. kinesthetic empathy, can be created by implied lines and gestures
4. chiaroscuro - a technique developed in the renaissance to refer to the use of light and shadow to to imply depth and volume in a painting or drawing. Combination of the italian words for dark and light.
5. closure -
6. composition - usu. Synonymous with “design,” implies similar feeling of organization, not simply a careless scattering of random items around a format. Creation of a unified pattern from varied elements.
7. content - the subject matter, story or information that the artwork seeks to communicate to the viewer. (vs. form, which is purely visual)
8. contrast - when one element differs from another. Contrast can be used to create focal points. Contrast of scale can also help create depth.
9. creative process: thinking, looking, doing - these activities non-sequential and not independent procedures. Overlap, may be preformed simultaneously or by jumping back and forth.
thinking - what is to be achieved? What are the visual stylistic requirements? What are limitations? When is solun needed? Use of symbols to communicate idea/ theme, consider audience, form and content, form and function
looking - observing nature and objects, design, art, expand possibilities of expression by viewing others’ work. Source vs. subject: they are different, subject tied to content. History and culture, well known images-> vernacular
doing- thinking with materials, doing and redoing, leaving a record of the process to expand upon
10. design - a plan, organization, the opposite of chance, organized solution to a process. Communication of concept inextricably linked with the design. Problem solving using content and form4,6 12, 34-6
11. dominant
12. elements of design - color, illusion of motion, illusion of space, line, shape, vol, texture, value
13. figure - the positive element, object
14. form - the purely visual aspect, the manipulation of the various elements and principles of design. Form is how they communicate their content.
15. format
16. gestalt - a theory of visual psychology, the viewer tends to attempt to piece together some sense of pattern and unity. If they cannot, they ignore the image. If they can, they pay attention.
17. golden mean, golden rectangle - influences of design throughout the centuries, length is to width as length is to length plus width (golden ratio) tied to fibonacci sequence. Common in music, nature, human body, and design. 3: 5 proportions well suited tovertical figures and horizontal landscape paintings.
18. greyed neutrals - aka chromatic grays, grays made from mixtures of colors. Every color simultaneously has a corresponding value. i.e. yellow is very light, purple very dark.
19. ground - the negative element, space on which the object is moved
20. harmony - a term related to unity, (the presentation of an integrated image, agreement among all elements in design, have some visual connection beyond mere chance). If elements inharmonious the pattern falls apart and lacks unity.
21. high value (high key? 226)
22. ideal proportion
23. implied motion - often caused by relation to past experience and memory, recogniton of unstable positions and understanding that changing them is unavoidable. Also related to kinesthetic empathy.
24. implied texture
25. illusion of motion- abstract art, such as op art, splatters, speed lines, etc. kinesthetic empathy, anticipated motion by design (as in cars that look fast), repeated figures, cropped figures, blurred outlines, multiple images
26. low value - term referring to kind of contrast where any two adjoining values are only slightly different
27. negative - the space upon which a positive object makes an impact. Empty space
28. positive - an object/ element/ shape that creates negative space on the ground
29. principles of design
30. perception 144,45
31. proximity - used to create unity, to make separate elements look as if they belong together, it is simply putting the objects closer together, close proximity. Common unifying factor, can be used to create implied shapes within a design.
32. sympathetic response - e.g. kinesthetic empathy
33. scale - essentially another word for size. Proportion refers to relative size, i.e. has scale reference. Can be used to emphasize elements/ focal point, internal proportions change total effect., contrast of scale for dramatic effect, scale confusion for surrealism and fantasy
34. source - the result of looking, influence expanded upon for a solution, intimately connected with the subject, but not necessarily the same as.
35. subordinant
36. subject - tied to the content of the work and to the artist’s way of seeing.
37. tactile - texture that can actually be felt, i.e. impasto
38. value contrast - the relationship between areas of light and dark.
39. visual unity - the whole must be predominant over the parts. Must first see the whole pattern before you notice individual parts. If you only see parts no unity exists.