Chapter 2 - Visual Communication Flashcards

1
Q

A long narrow mark. May be created using two forms next to each other. Basic means for recording and symbolizing ideas, observations, and feelings; primary means of visual communication. An extension of a point.

A

Line

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2
Q

Form geometric shapes can serve as an underlying organizational structure. A line in a composition that is not actually drawn. It maybe slight line of a figure in a composition, or a line along which two shapes align with each other.

A

Implied Line

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3
Q

Two dimensional or implied two dimensional area defined by line or changes in color. Refers to the expanse within the outline of a two dimensional area or within the outer boundaries of a three dimensional object.

A

Shape

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4
Q

Such as circles, triangles, and squares tend to be precise and regular. Any shape enclosed by a square or straight or perfectly circular lines. Contrasted with organic shapes.

A

Geometric shapes

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5
Q

Irregular, often curving or rounded. Seemed relax and more informal than geometric shapes based on natural forms. Resembles any living matter, not drawn with ruler or compass.

A

Organic shapes

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6
Q

Suggests shapes on a natural form. Shape in a work of art that resembles a living organism or an organic shape.

A

Biomorphic shape

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7
Q

The two dimensional flat picture surface.

A

Picture plane

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8
Q

Separate shapes that seem to lie above a background or ground.

A

Figure

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9
Q

A figure or foreground shape as opposed to a negative ground or background shape.

A

Positive shape

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10
Q

The background in two dimensional works- the area around and between figures. Also, the surface onto which a paint is applied consisting of sizing plus primer.

A

Ground

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11
Q

A background or ground shape seen in relation to foreground or figure shapes.

A

Negative shapes

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12
Q

Visual effect in which what was seen as a positive shape becomes a negative shape.

A

Figure-ground reversal

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13
Q

Space enclosed or filled by a three dimensional object or figure. The implied space filled by a painted or drawn object or figure

A

Volume

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14
Q

A self contained or explicitly limited form; having resolved balance of tensions, a sense of calm completeness implying a totality within itself. A sculptural shape that seems to look inward rather than outward.

A

Closed form

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15
Q

Form in a state of becoming or reaching out.

A

Open form

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16
Q

Based on the fact that parallel lines or edges appear to converge and objects appear smaller as the distance between them and the viewer increases

A

Linear perspective

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17
Q

A system for creating an illusion of depth or three dimensional space on a two dimensional surface

A

Perspective

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18
Q

In linear perspective, the point of view on the horizon line at which lines or edges that are parallel appear to converge

A

Vanishing point

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19
Q

In linear perspective, the implied or actual line or edge placed on a two dimensional surface to represent the place in nature where the sky meets the horizontal land or water plane.

A

Horizon line

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20
Q

In linear perspective, the presumed height of the artists eyes; this becomes the presumed height of the viewer standing in front of the finished work

A

Eye level

21
Q

Fixed position or viewpoint

A

Vantage point

22
Q

Perspective system in which all parallel lines converge at a single vanishing point

A

One point perspective

23
Q

Creates the illusion of distance by reducing color saturation, value contrast, and detail in order to imply the hazy effect of atmosphere between the viewer and distant objects

A

Aerial perspective

24
Q

Art that incorporates actual movement as part of the design

A

Kinetic art

25
Q

Sometimes called tone. Lightness or darkness of tones or colors. White is light , black is dark. Halfway between extremes is sometimes called middle gray.

A

Value

26
Q

Shading from light to dark

A

Chiaroscuro

27
Q

The color of an object as we experience it, without shadows or reflections

A

Local color

28
Q

Having no color. Most white, blacks, or browns

A

Achromatic

29
Q

Not associated with any single hue.

A

Neutrals

30
Q

A hue with black added

A

Shade

31
Q

A hue with white added

A

Tint

32
Q

Refers to the purity of a hue or color

A

Intensity or saturation

33
Q

Mixture of colored pigments in the form of paints, inks and pastels. Reflected light is reduced as pigment colors are combined, generally leading to darker shades

A

Subtractive color mixture

34
Q

Red, yellow and blue. Cannot be produced by an intermixing of other hues. Primary colors

A

Primary hues

35
Q

Orange, green, and violet. Mixture of two primaries produces a secondary hue. Placed on the color wheel between the two primaries from which they are composed.

A

Secondary hues

36
Q

Red-orange, yellow-orange, yellow-green, blue-green, blue-violet, red violet.

A

Intermediate hues

37
Q

Appear to contract and recede. Relative visual temperature makes them seem cool

A

Cool colors

38
Q

Appear to expand and advance. Visual temperature makes them seem warm

A

Warm colors

39
Q

A pure hue is used alone with black and or white.

A

Monochromatic

40
Q

Hues that are neighbors on the color wheel such as yellow-green, green, blue-green.

A

Analogous

41
Q

Emphasize two hues directly opposite each other on the color wheel, such as red and green.

A

Complementary

42
Q

Art in which the intention is to represent a particular subject especially pertaining to realistic portrayal of subject matter

A

Representational art

43
Q

When the human form is the primary subject

A

Figurative art

44
Q

Objects that representational art depicts

A

Subjects

45
Q

Real looking paintings, French word for “fool the eye”, illusionistic style.

A

Tromp l’oeil

46
Q

What we see

A

Form

47
Q

The meaning we get from what we see

A

Content

48
Q

Symbolic meaning of signs, subjects, and images.

A

Iconography