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Concepts Flashcards

1
Q

Elements of Art

A

The visual components of color, form, line, shape, space, texture, and value.

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2
Q

The visual components of color, form, line, shape, space, texture, and value.

A

Elements of Art

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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

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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

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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

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6
Q

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

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7
Q

Line

A

An identifiable path of a point moving in space.

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8
Q

An identifiable path of a point moving in space.

A

Line

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9
Q

Shape

A

An element of art that is two-dimensional, flat, or limited to height and width.

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10
Q

An element of art that is two-dimensional, flat, or limited to height and width.

A

Shape

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11
Q

Space

A

The element of art which refers to emptiness or areas between, around, above, below or within objects.

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12
Q

The element of art which refers to emptiness or areas between, around, above, below or within objects.

A

Space

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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.

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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

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15
Q

Value

A

How light or dark a given color or hue can be.

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16
Q

How light or dark a given color or hue can be.

A

Value

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17
Q

Principles of Design

A

contrast, balance, emphasis, proportion, hierarchy, repetition, rhythm, pattern, white space, movement, variety, and unity

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18
Q

contrast, balance, emphasis, proportion, hierarchy, repetition, rhythm, pattern, white space, movement, variety, and unity

A

Principles of Design

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19
Q

Contrast

A

The technique of using unlike visual elements in juxtaposition to create meaning and intensify the characteristics of the work.

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20
Q

The technique of using unlike visual elements in juxtaposition to create meaning and intensify the characteristics of the work.

A

Contrast

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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

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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

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23
Q

Emphasis

A

Principle of design concerned that stresses one element or area in a work of art to make it attract the viewer’s attention first

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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

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25
Q

Proportion

A

The dimensions of a composition and relationships between height, width and depth.

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26
Q

The dimensions of a composition and relationships between height, width and depth.

A

Proportion

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27
Q

Hierarchy

A

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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28
Q

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.

A

Hierarchy

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29
Q

Repetition

A

Repeating a single element many times in a design.

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30
Q

Repeating a single element many times in a design.

A

Repetition

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31
Q

Rhythm

A

The movement within a piece of art that helps the eye travel through the to a point of focus.

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32
Q

The movement within a piece of art that helps the eye travel through the to a point of focus.

A

Rhythm

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33
Q

Pattern

A

A design that repeats and can be found anywhere. They can be made by repeating shape, line, or color.

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34
Q

A design that repeats and can be found anywhere. They can be made by repeating shape, line, or color.

A

Pattern

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35
Q

White Space

A

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.

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36
Q

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.

A

White Space

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37
Q

Movement

A

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.

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38
Q

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.

A

Movement

39
Q

Variety

A

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
Q

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.

A

Variety

41
Q

Unity

A

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
Q

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.”

A

Unity

43
Q

Asymmetrical

A

A balance achieved through the use of unequel parts or elements

44
Q

A balance achieved through the use of unequel parts or elements

A

Asymmetrical

45
Q

Composition

A

The arrangement of forms in a work of art

46
Q

The arrangement of forms in a work of art

A

Composition

47
Q

Content

A

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

48
Q

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

A

Content

49
Q

Dominance

A

The difference in importance of one aspect in relation to all other aspets of design. What stands out most in a work of art.

50
Q

The difference in importance of one aspect in relation to all other aspets of design. What stands out most in a work of art.

A

Dominance

51
Q

Exaggeration

A

Increasing or enlarging an object or figure or one of its parts to communicate ideas and feelings

52
Q

Increasing or enlarging an object or figure or one of its parts to communicate ideas and feelings

A

Exaggeration

53
Q

Focal Point

A

The center of interest of an artwork; the part you look at first.

54
Q

The center of interest of an artwork; the part you look at first.

A

Focal Point

55
Q

Hue

A

The name of the color

56
Q

The name of the color

A

Hue

57
Q

Intensity

A

Brightness of color

58
Q

Brightness of color

A

Intensity

59
Q

Aperture

A

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

60
Q

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

A

Aperture

61
Q

Depth of Field (DOF)

A

The distance between the nearest and the furthest objects that are in acceptably sharp focus in an image captured by a camera

62
Q

The distance between the nearest and the furthest objects that are in acceptably sharp focus in an image captured by a camera

A

Depth of Field (DOF)

63
Q

Rule of Thirds

A

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
Q

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

A

Rule of Thirds

65
Q

Shutter Speed

A

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
Q

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.

A

Shutter Speed

67
Q

Negative Space

A

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
Q

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.

A

Negative Space

69
Q

ISO

A

The sensitivity of the camera’s sensor. It originally referred to the sensitivity of film—it’s “light gathering” ability.

70
Q

The sensitivity of the camera’s sensor. It originally referred to the sensitivity of film—it’s “light gathering” ability.

A

ISO

71
Q

F-Stop

A

The term used to denote aperture measurements on your camera.

72
Q

The term used to denote aperture measurements on your camera.

A

F-Stop

73
Q

Aspect Ratio

A

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
Q

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.

A

Aspect Ratio

75
Q

Bokeh

A

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
Q

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.

A

Bokeh

77
Q

White Balance

A

A camera setting that establishes the true color of white. This produces a baseline from which all other colors are measured.

78
Q

A camera setting that establishes the true color of white. This produces a baseline from which all other colors are measured.

A

White Balance

79
Q

Chekhov’s Gun

A

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
Q

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.

A

Chekhov’s Gun

81
Q

Standard Cut

A

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
Q

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.

A

Standard Cut

83
Q

Complementary Colors

A

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
Q

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”.

A

Complementary Colors

85
Q

L Cut

A

A film editing technique in which the audio from a preceding scene carries over the image of the following scene.

86
Q

A film editing technique in which the audio from a preceding scene carries over the image of the following scene.

A

L Cut

87
Q

Analogous Colors

A

In color theory they are groups of colors that are next to each other on the color wheel.

88
Q

In color theory they are groups of colors that are next to each other on the color wheel.

A

Analogous Colors

89
Q

Color Wheel

A

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
Q

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.

A

Color Wheel

91
Q

J Cut

A

An editing technique used for scene transitions in which the audio of the next scene precedes the shot change.

92
Q

An editing technique used for scene transitions in which the audio of the next scene precedes the shot change.

A

J Cut

93
Q

Match Cut

A

A film editing technique where two different shots are joined together based on visual similarities, creating a seamless transition between scenes.

94
Q

A film editing technique where two different shots are joined together based on visual similarities, creating a seamless transition between scenes.

A

Match Cut

Arts (2 decks)

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