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CPFAR Flashcards

1
Q

According to (2007), “the earliest example of Philippine arts includes carving of gods and goddesses (anitos), ceremonial masks and other artifacts.

A

kroulek

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2
Q

As the missionaries embarked on Catholicism, they harnessed visual arts which has been used in the churches.

A

spanish colonizations

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3
Q

The imported books which flooded the school of arts lessened the native arts and creativity through later became integrated into the fine arts curriculum.

A

american colonizations

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4
Q

It is the aesthetic value of a certain thing or material by strategically implementing images, colors, fonts, and other elements.

A

visual design

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5
Q

This is a continuous mark made on a surface by a moving point.

A

lines

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6
Q

This is an enclosed space defined by a line or by contrast to its surroundings.

A

shape

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7
Q

It is a three-dimensional object defined by volume of shape.

A

form

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8
Q

Is the distance or area around or between elements of an artwork.

A

space

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9
Q

It is the visible spectrum of radiation reflected from an object.

A

color

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10
Q

it is the name of the color.

A

hue

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11
Q

the purity of color.

A

intensity/saturation

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12
Q

the lightness or darkness of the color.

A

value/brightness

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13
Q

The tactile sensation or feel of a surface (rough, smooth, spiky, etc.) or how something appears to feel.

A

texture

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14
Q

This is the viewer’s perspective on certain arts and designs.

A

perspective

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15
Q

3 types of perspective

A

birds eye
worms eye
eye level

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16
Q

It is the distribution of interest or visual weight in a work.

A

balance

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17
Q

The difference in quality between two instances of an art element or using opposing qualities next to each other.

A

contrast

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18
Q

Emphasis created by visually reinforcing something we want the viewers to pay attention. Focal points are areas of interest the viewers’ eyes skip to. The strongest focal point with the greatest visual weight is the dominant element of the work. Elements of secondary importance could be term sub-dominant and element with the least importance is subordinate.

A

emphasis, dominance, and focal pont

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19
Q

have a logical relationship or progression-in some way they work together and complement each other.

A

harmony

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20
Q

is created by using harmonious similarity, and repetition, continuance, proximity and alignment, and closure of design elements in different parts of the work, so that the parts relate to each other and create a unified whole, that can be greater than the sum of parts, rather than an ill-fitting and meaningless assortment of elements

A

unity

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21
Q

Using art elements to direct a viewers’ eye along a path through the artwork, and/or to show movement, action and direction. Also, giving some elements the ability to be moved or move on their own, via internal or external power.

A

movement

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22
Q

Using art elements to direct a viewers’ eye along a path through the artwork, and/or to show movement, action and direction. Also, giving some elements the ability to be moved or move on their own, via internal or external power.

A

Repetition, Rhythm and Pattern

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23
Q

Proportion is the relationship of sizes between different parts of a work.

A

proportion and scale

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24
Q

Using a range of different qualities or instances of an art element to create a desired visual effect-e.g.. a variety of shapes, colors, etc. Variety can add interest and break the monotony of simple design.

A

variety and variation

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25
Q

is defined as a two-dimensional medium where an image is depicted on a flat surface by making lines and areas of tone through shading.

A

drawing

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26
Q

This is a two-dimensional form of art which is made of colors applied into surface such as canvass and wood

A

painting

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27
Q

the pigments are mixed in oil. The surface used is usually canvass although other surfaces like wood, paper, and metal may be used

A

oil

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28
Q

Two Methods of Oil Painting

A

direct
indirect

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29
Q

This is a mixture of ground pigments and an albuminous and colloidal vehicle, either egg, gum or glue.

A

tempera

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30
Q

the pigments are mixed with water and applied to fine, white paper. The colors are applied in very thin layers.

A

water color

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31
Q

Pastel color possesses only surface of light, gives no glazed effect and most closely resembles dry pigment.

A

pastel

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32
Q

It is the most popular type of painting. The colors are mixed with water and applied to fresh plaster which absorb the color.

A

fresco

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33
Q

It is the newest and most used by painters nowadays. These are synthetic painting using acrylic emulsion as binder.

A

acrylic

34
Q

This includes the local mediums used in painting such as coffee, flower/wildflower’s pigments and the like.

A

localized materials

35
Q

is a two-dimensional art form created by an impression made by a method involving a transfer from one surface to another.

A

print

36
Q

It is a type of print where the design is being made on the surface. As you can see around you, there are lots of printing designs which are under planography. Like for example, the t-shirt printing, cup designing and the like.

A

planograph

37
Q

The design of the print is being raised. There are some examples which are used in our daily lives such as the signature stamps and others

A

relief

38
Q

The design is hidden

A

intaglio

39
Q

The following are techniques under intaglio.

A hardened steel tool called a burin is used to cut lines into the surface of a metal plate. The appearance of the incisions depends on the angle and pressure applied when using the burin. When the ink is applied over the metal plate it is retained in the incisions and the paper picks it up in the press to create the impression.

A

engraving

40
Q

The following are techniques under intaglio.

Like engraving, the indentations hold the ink, but these are created in a different manner. Lines are cut onto a waxy surface which covers the metal plate. The plate is placed in an acid bath, which ‘bites’ into the metal left exposed and thus traces are formed. The plate is then ready for ink to be applied and follows the subsequent steps in engraving.

A

etching

41
Q

The following are techniques under intaglio.

This type of print is a form of engraving where the whole plate of metal is roughened and then scraped and polished to different degrees, so that the ink also holds in varies quantities. With this type of print, a good range of tone is achieved.

A

mezzotint

42
Q

The following are techniques under intaglio.

is similar to etching as acid is used to make marks in the plate. However, a powdered resin is applied in parts making them acid resistant. Removing a protective coat leaves textured areas and a number of acid baths are made until the darkest tones are reached

A

aquatint

43
Q

This print-type is a variant of engraving which employs the intaglio method. However, with dry point a sharp metal point is used which creates ridges (known as “burr”) in the lines made. This technique allows for the ink to leave a soft, sometimes blurry line.

A

dry point

44
Q

is an image created by the exposure of light on a light-sensitive material at some stage during its making. It can be either a positive or negative image and made using one of many processes.

A

photography

45
Q

This technique in photography is applicable when taking a subject which is very fast to be noticed by the -naked eyes. The things that matter the most in taking is patience. The trick to this technique is a tripod, a narrow aperture, and a flash.

A

high speed photography

46
Q

This technique is being done during nighttime or after dark. For a high-quality night photography, a photographer needs to consider the rule of thirds. You need a super slow shutter speed, and a tripod to steady your camera for long exposures.

A

night photography

47
Q

This technique is applicable into tiny subjects if you want to enlarge it. This is to emphasize details that are invisible to the human eye. A photographer needs to focus on the tiny subject he or she wants to capture.

A

macro photography

48
Q

is sunset or sunrise. To create the silhouette effect, position your subject in front of the sun, and shoot into the sun. A faster shutter speed will result in darker exposure, and a slower shutter speed will create a brighter image.

A

silhouette

49
Q

can add a powerful sense of depth to a composition. While the most common reflective photographs take place over a body of water, reflections can be effective for many different settings. Try to use a small aperture such as or higher to help even out the subjects in the shot, enhancing the reflective effect.

A

reflections and mirror

50
Q

is a chromogenic colour print which uses chromogenic materials and processes.

A

c type

51
Q

This type of print is a colour print made from a negative. Distinctively different from a C-type, this print is richer in colour and last longer as the dyes are incorporated.

A

cibachrome

52
Q

This type print is computer-generated using a photographic image which is converted into a digital file. The file is then manipulated in programmes such as desktop publishing and in its final stage printed using a laser inkjet printer

A

digital

53
Q

This is a posthumous print that is normally commissioned by the photographer’s estate from the original negative. These types of prints do not hold the same value as prints made by the artist themselves.

A

estate

54
Q

This photographic technique uses an image formed on an intaglio metal plate, which is coated with a light-sensitive, acid-resistant ground. The plate is then exposed to light to reproduce a photographic image.

A

photoetching

55
Q

Here the image is created by placing an object onto photosensitive paper which is then briefly exposed to light, leaving the object’s imprint on the paper.

A

photogram

56
Q

A stone or metal plate is sensitized using potassium bichromate. Once the plate is exposed to light in contact with a negative, the gelatin becomes insoluble to water. The water is then repeatedly used to remove the remaining soluble elements.

A

photolithograph

57
Q

This technique creates a black and white photograph by exposing light to paper coated in gelatin carrying silver salts

A

silver gelatin print

58
Q

This type of print is one that is produced around the same time as the negative (within 5 years is an accepted timeframe). This type of print is defined by chronology rather than by the materials used.

A

vintage print

59
Q

can be defined as an occupation trade which involves manual dexterity and skilled artistry.

A

craft

60
Q

These include any type of craft where you work with fabric yarn or surface design. Some examples are knitting, quilting appliqué, weaving and dyeing. Many of these could obviously also fall into the decorative or fashion crafts categories, since the finished good is sold as a sweater or wall hanging. However, they are technically textile crafts since it all starts with the fabric

A

textile crafts

61
Q

As the name implies, paper crafts have to do with well-paper. There are many crafts made out of paper in our regions. From simple paper folding to a beautiful 3D object.

A

paper crafts

62
Q

Furniture making, metalwork, stenciling, stained glass, gilding spongeware, surface design of walls, basketry and dried flowers fall into the category of decorative crafts. This category also includes toy making.

A

decorative craft

63
Q

This type of crafts encompasses all the elements of dressing the human body: jewelry, hats, leatherwork (shoes, belts, handbags) and garments.

A

fashion crafts

64
Q

Many of the four other types of crafts can also be classified as functional. These crafts are being used in daily lives and are beneficial.

A

functional crafts

65
Q

are for the most part three-dimensional artworks created by shaping and molding materials typically marble, metal, glass, wood and bronze.

A

sculpture

66
Q

This is a well-known technique in sculpture where people usually use stone, wood, ivory or bone to carve an image.

A

carving

67
Q

is carved in a similar way to stone. The design is drawn on a split tree-trunk, the size of which usually determines the dimensions of the finished sculpture, though extra sections can be pieced in.

A

wood carving

68
Q

This has been used by artists for the past centuries for figurative carvings and ornamental architectural work. One of the most famous stones used is the marble which is until now used in carving images

A

stone carving

69
Q

Ivory is the dense, hard, creamy white substance that forms the tusks of mammals, though the term is also used for other similar materials. For centuries it has been highly valued by craftsmen and patrons alike for use in religious and secular objects

A

ivory/bone carving

70
Q

Modelling marks are not usually visible in finished piece of ceramic sculpture but can often be seen in ceramic models for sculpture in other media

A

modelling

71
Q

is a very versatile raw material. It relatively cheap and widely available. It can be modelled by the sculptor to form a unique object or molded by workshops for mass production.

A

clay modelling

72
Q

are original and unique creations that were sometimes works of art in their own right and sometimes an intermediary stage in the sculptural process.

A

wax models

73
Q

is a very popular method, where liquid in the form of bronze is poured into a cast and hardened. The lost wax process is a technique used to produce casts where a clay and plaster mold take on wax which is melted through a vent and molten metals poured in to replace it. Sand casting is another simpler technique that uses molds made out of compacted fine sand.

A

casting

74
Q

sculpture is a technique that involves the collation of several different, often found materials and objects within one work

A

assemblage

75
Q

The four well-known techniques to make sculpture:

A

carving
modelling
casting
assemblage

76
Q

the act of conceiving a piece of music, the art of creating music, or the finished product (Ringer & Holland).

A

musical composition

77
Q

The principal types of such instruments, classified by the method of producing sound, are

A

percussion, stringed, keyboard, wind, electronic

78
Q

These instruments are used by the Indigenous people in the Cordillera during rituals. Through the help of IPED Education, these instruments are now revived and re-emphasized at all occasions. Some religious sectors like the Solid Rock (for some churches in Benguet and Mt. Province) are using these instruments instead of the modernized musical instruments

A

set of gongs and solibao

79
Q

This musical instrument originated from the municipality of Bakun, Benguet and used by other municipalities nearby. Tallak is being used by students during occasions and also the elders during special occasions

A

tallak

80
Q

This is a wind instrument used by most Cordilleran people. The master of windpipe…

A

bamboo pipes/kalaleng

81
Q

One reason why people in the Cordillera improvised musical instruments is because they could produce good harmony even…

A

Other improvised musical instruments

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