Concepts Flashcards
1
Q
Elements of Art
A
The visual components of color, form, line, shape, space, texture, and value.
2
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The visual components of color, form, line, shape, space, texture, and value.
A
Elements of Art
3
Q
Color
A
Element of art derived from reflected light. The sensation is aroused in the brain by response of the eyes to different wavelengths of light. Has three properties: hue, value, and intensity
4
Q
Element of art derived from reflected light. The sensation is aroused in the brain by response of the eyes to different wavelengths of light. Has three properties: hue, value, and intensity
A
Color
5
Q
Form
A
A vehicle for rendering a particular type of subject matter. The formal elements of a work consists of the grouping and combination of shapes
6
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A vehicle for rendering a particular type of subject matter. The formal elements of a work consists of the grouping and combination of shapes
A
Form
7
Q
Line
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An identifiable path of a point moving in space.
8
Q
An identifiable path of a point moving in space.
A
Line
9
Q
Shape
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An element of art that is two-dimensional, flat, or limited to height and width.
10
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An element of art that is two-dimensional, flat, or limited to height and width.
A
Shape
11
Q
Space
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The element of art which refers to emptiness or areas between, around, above, below or within objects.
12
Q
The element of art which refers to emptiness or areas between, around, above, below or within objects.
A
Space
13
Q
Texture
A
The perceived surface quality of a work of art. It may be perceived physically, through the sense of touch, or visually, or both.
14
Q
The perceived surface quality of a work of art. It may be perceived physically, through the sense of touch, or visually, or both.
A
Texture
15
Q
Value
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How light or dark a given color or hue can be.
16
Q
How light or dark a given color or hue can be.
A
Value
17
Q
Principles of Design
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contrast, balance, emphasis, proportion, hierarchy, repetition, rhythm, pattern, white space, movement, variety, and unity
18
Q
contrast, balance, emphasis, proportion, hierarchy, repetition, rhythm, pattern, white space, movement, variety, and unity
A
Principles of Design
19
Q
Contrast
A
The technique of using unlike visual elements in juxtaposition to create meaning and intensify the characteristics of the work.
20
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The technique of using unlike visual elements in juxtaposition to create meaning and intensify the characteristics of the work.
A
Contrast
21
Q
Balance
A
A principle of art and design concerned with the arrangement of one or more elements in a work of art so that they appear symmetrical (identical compositional units on either side of an axis) or asymmetrical (not identical) in design or proportion
22
Q
A principle of art and design concerned with the arrangement of one or more elements in a work of art so that they appear symmetrical (identical compositional units on either side of an axis) or asymmetrical (not identical) in design or proportion
A
Balance
23
Q
Emphasis
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Principle of design concerned that stresses one element or area in a work of art to make it attract the viewer’s attention first
24
Q
Principle of design concerned that stresses one element or area in a work of art to make it attract the viewer’s attention first
A
Emphasis
25
Proportion
The dimensions of a composition and relationships between height, width and depth.
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The dimensions of a composition and relationships between height, width and depth.
Proportion
27
Hierarchy
The control of visual information in an arrangement or presentation to imply importance. It influences the order in which the human eye perceives what it sees. In design, it is used to: Add structure. Create visual organization.
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The control of visual information in an arrangement or presentation to imply importance. It influences the order in which the human eye perceives what it sees. In design, it is used to: Add structure. Create visual organization.
Hierarchy
29
Repetition
Repeating a single element many times in a design.
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Repeating a single element many times in a design.
Repetition
31
Rhythm
The movement within a piece of art that helps the eye travel through the to a point of focus.
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The movement within a piece of art that helps the eye travel through the to a point of focus.
Rhythm
33
Pattern
A design that repeats and can be found anywhere. They can be made by repeating shape, line, or color.
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A design that repeats and can be found anywhere. They can be made by repeating shape, line, or color.
Pattern
35
White Space
Empty space between design elements in layouts and page illustrations and the distance between single readable letters and characters. In some cases, it is called Negative Space.
36
Empty space between design elements in layouts and page illustrations and the distance between single readable letters and characters. In some cases, it is called Negative Space.
White Space
37
Movement
The idea that our, the viewers, the focus is “guided” in a composition, usually towards the primary focal point or even around the entire composition.
38
The idea that our, the viewers, the focus is “guided” in a composition, usually towards the primary focal point or even around the entire composition.
Movement
39
Variety
Using different sizes, shapes and colors in your artwork to create visual diversity. Contrast, difference and change, and elaboration all add visual interest to an artist's work.
40
Using different sizes, shapes and colors in your artwork to create visual diversity. Contrast, difference and change, and elaboration all add visual interest to an artist's work.
Variety
41
Unity
Separate parts working together in a composition. It creates a sense of harmony and wholeness by using similar elements and placing them in a way that creates a feeling of “oneness.”
42
Separate parts working together in a composition. It creates a sense of harmony and wholeness by using similar elements and placing them in a way that creates a feeling of “oneness.”
Unity
43
Asymmetrical
A balance achieved through the use of unequel parts or elements
44
A balance achieved through the use of unequel parts or elements
Asymmetrical
45
Composition
The arrangement of forms in a work of art
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The arrangement of forms in a work of art
Composition
47
Content
A work of art is usually discussed in terms of its subject matter, form and content. Refers to the intellectual, psychological, spiritual, narrative or aesthetic aspect of the work
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A work of art is usually discussed in terms of its subject matter, form and content. Refers to the intellectual, psychological, spiritual, narrative or aesthetic aspect of the work
Content
49
Dominance
The difference in importance of one aspect in relation to all other aspets of design. What stands out most in a work of art.
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The difference in importance of one aspect in relation to all other aspets of design. What stands out most in a work of art.
Dominance
51
Exaggeration
Increasing or enlarging an object or figure or one of its parts to communicate ideas and feelings
52
Increasing or enlarging an object or figure or one of its parts to communicate ideas and feelings
Exaggeration
53
Focal Point
The center of interest of an artwork; the part you look at first.
54
The center of interest of an artwork; the part you look at first.
Focal Point
55
Hue
The name of the color
56
The name of the color
Hue
57
Intensity
Brightness of color
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Brightness of color
Intensity
59
Aperture
The part of the camera that opens to let light in. The f-stop or f-number is the measurement of how open or closed it is
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The part of the camera that opens to let light in. The f-stop or f-number is the measurement of how open or closed it is
Aperture
61
Depth of Field (DOF)
The distance between the nearest and the furthest objects that are in acceptably sharp focus in an image captured by a camera
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The distance between the nearest and the furthest objects that are in acceptably sharp focus in an image captured by a camera
Depth of Field (DOF)
63
Rule of Thirds
An image should be imagined as divided into nine equal parts by two equally spaced horizontal lines and two equally spaced vertical lines, and that important compositional elements should be placed along these lines or their intersections
64
An image should be imagined as divided into nine equal parts by two equally spaced horizontal lines and two equally spaced vertical lines, and that important compositional elements should be placed along these lines or their intersections
Rule of Thirds
65
Shutter Speed
The length of time that the film or digital sensor inside the camera is exposed to light (that is, when the camera shutter is open) when taking a photograph. The longer the shutter is open the brighter and more blurry the image is. the shorter, the darker and more clear the image.
66
The length of time that the film or digital sensor inside the camera is exposed to light (that is, when the camera shutter is open) when taking a photograph. The longer the shutter is open the brighter and more blurry the image is. the shorter, the darker and more clear the image.
Shutter Speed
67
Negative Space
In art, is the empty space around and between the subject(s) of an image. It may be most evident when the space around a subject, not the subject itself, forms an interesting or artistically relevant shape, and such space occasionally is used to artistic effect as the "real" subject of an image.
68
In art, is the empty space around and between the subject(s) of an image. It may be most evident when the space around a subject, not the subject itself, forms an interesting or artistically relevant shape, and such space occasionally is used to artistic effect as the "real" subject of an image.
Negative Space
69
ISO
The sensitivity of the camera's sensor. It originally referred to the sensitivity of film—it's "light gathering" ability.
70
The sensitivity of the camera's sensor. It originally referred to the sensitivity of film—it's "light gathering" ability.
ISO
71
F-Stop
The term used to denote aperture measurements on your camera.
72
The term used to denote aperture measurements on your camera.
F-Stop
73
Aspect Ratio
A proportional relationship between an image's width and height. Essentially, it describes an image's shape. It is written as a formula of width to height, like this: 3:2.
74
A proportional relationship between an image's width and height. Essentially, it describes an image's shape. It is written as a formula of width to height, like this: 3:2.
Aspect Ratio
75
Bokeh
The aesthetic quality of the blur produced in out-of-focus parts of an image, caused by Circles of Confusion. It has also been defined as "the way the lens renders out-of-focus points of light". Differences in lens aberrations and aperture shape cause very different effects.
76
The aesthetic quality of the blur produced in out-of-focus parts of an image, caused by Circles of Confusion. It has also been defined as "the way the lens renders out-of-focus points of light". Differences in lens aberrations and aperture shape cause very different effects.
Bokeh
77
White Balance
A camera setting that establishes the true color of white. This produces a baseline from which all other colors are measured.
78
A camera setting that establishes the true color of white. This produces a baseline from which all other colors are measured.
White Balance
79
Chekhov's Gun
A narrative principle that states that every element in a story must be necessary, and irrelevant elements should be removed. For example, if a writer features a gun in a story, there must be a reason for it, such as its being fired some time later in the plot.
80
A narrative principle that states that every element in a story must be necessary, and irrelevant elements should be removed. For example, if a writer features a gun in a story, there must be a reason for it, such as its being fired some time later in the plot.
Chekhov's Gun
81
Standard Cut
When you simply move from the end of one clip to the beginning of another. Also known as the hard cut, is a classic editing technique where one scene goes to the next with no visual transition.
82
When you simply move from the end of one clip to the beginning of another. Also known as the hard cut, is a classic editing technique where one scene goes to the next with no visual transition.
Standard Cut
83
Complementary Colors
Pairs of colors which, when combined or mixed, cancel each other out by producing a grayscale color like white or black. When placed next to each other, they create the strongest contrast for those two colors. Also be called "opposite colors".
84
Pairs of colors which, when combined or mixed, cancel each other out by producing a grayscale color like white or black. When placed next to each other, they create the strongest contrast for those two colors. Also be called "opposite colors".
Complementary Colors
85
L Cut
A film editing technique in which the audio from a preceding scene carries over the image of the following scene.
86
A film editing technique in which the audio from a preceding scene carries over the image of the following scene.
L Cut
87
Analogous Colors
In color theory they are groups of colors that are next to each other on the color wheel.
88
In color theory they are groups of colors that are next to each other on the color wheel.
Analogous Colors
89
Color Wheel
Diagram used in the visual arts to represent the colors of the visible spectrum and their relationships to each other. The colors are arranged systematically in a circle, with each hue falling usually into one of three categories: primary, secondary, or intermediate.
90
Diagram used in the visual arts to represent the colors of the visible spectrum and their relationships to each other. The colors are arranged systematically in a circle, with each hue falling usually into one of three categories: primary, secondary, or intermediate.
Color Wheel
91
J Cut
An editing technique used for scene transitions in which the audio of the next scene precedes the shot change.
92
An editing technique used for scene transitions in which the audio of the next scene precedes the shot change.
J Cut
93
Match Cut
A film editing technique where two different shots are joined together based on visual similarities, creating a seamless transition between scenes.
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A film editing technique where two different shots are joined together based on visual similarities, creating a seamless transition between scenes.
Match Cut
95
Jump Cut
A cut in film editing that breaks a single continuous sequential shot of a subject into two parts, with a piece of footage removed to create the effect of jumping forward in time.
96
A cut in film editing that breaks a single continuous sequential shot of a subject into two parts, with a piece of footage removed to create the effect of jumping forward in time.
Jump Cut
97
Cutaway Shot/Cut in
A supplementary shot that “cuts away” from the main action to indicate something else in the space, such as an object or location.
98
A supplementary shot that “cuts away” from the main action to indicate something else in the space, such as an object or location.
Cutaway Shot/Cut in
99
Montage
A technique that enable filmmakers to communicate a large amount of information to an audience over a shorter span of time by juxtaposing different shots, compressing time through editing, or intertwining multiple storylines of a narrative. The word “montage” derives from French — meaning “assembly” or “editing.”
100
A technique that enable filmmakers to communicate a large amount of information to an audience over a shorter span of time by juxtaposing different shots, compressing time through editing, or intertwining multiple storylines of a narrative. The word “montage” derives from French — meaning “assembly” or “editing.”
Montage
101
Pastiche
A work of visual art, literature, theatre, music, or architecture that imitates the style or character of the work of one or more other artists. Unlike parody, it pays homage to the work it imitates, rather than mocking it.
102
A work of visual art, literature, theatre, music, or architecture that imitates the style or character of the work of one or more other artists. Unlike parody, it pays homage to the work it imitates, rather than mocking it.
Pastiche
103
Golden Ratio
Also known as the Golden Section, Golden Mean, Divine Proportion or Greek letter Phi, exists when a line is divided into two parts and the longer part (a) divided by the smaller part (b) is equal to the sum of (a) + (b) divided by (a), which both equal 1.618. It is also a method that you can use to divide lines and rectangles in an aesthetically pleasing way. Architects use a very accurate golden ratio number, 0.62, when designing buildings. As an easier rule of thumb for your art, you can use a ratio of 3 to 5.
104
Also known as the Golden Section, Golden Mean, Divine Proportion or Greek letter Phi, exists when a line is divided into two parts and the longer part (a) divided by the smaller part (b) is equal to the sum of (a) + (b) divided by (a), which both equal 1.618. It is also a method that you can use to divide lines and rectangles in an aesthetically pleasing way. Architects use a very accurate golden ratio number, 0.62, when designing buildings. As an easier rule of thumb for your art, you can use a ratio of 3 to 5.
Golden Ratio
105
Motif
A single or repeated design or color or any distinctive feature or idea that recurs across a story; often, it helps develop other narrative elements such as theme or mood.
106
A single or repeated design or color or any distinctive feature or idea that recurs across a story; often, it helps develop other narrative elements such as theme or mood.
Motif
