Final

Question 1

Actual Texture

Answer 1

physical features of a surface, apparent to the touch. In contrast to: actual and simulated texture.

Question 2

aesthetic

Answer 2

having to do with visual art, and the theory of art, design or beauty.

Question 3

asymmetrical balance

Answer 3

use of elements in a composition that are dissimilar and yet counter each other to create visual equilibrium. Also: informal balance.

Question 4

aerial perspective

Answer 4

creating the illusion of space through atmospheric effects, e.g. objects further from viewer appearing lighter or different in color than those closer. Also: Atmospheric perspective.

Question 5

assemblage

Answer 5

Art made by assembling disparate elements often scavenged by the artist, sometimes bought specially

Question 6

chiaroscuro

Answer 6

From the Italian “Chiar” (light) and “Oscuro” (dark), suggesting strong value contrast in a work of art used to emphasize form and dimension in a composition, often associated with painters Caravaggio and Rembrandt

Question 7

chroma

Answer 7

The relative purity or intensity of a color. Along with hue and value, one of the three dimensions used in color theory.

Question 8

content

Answer 8

subject matter of a work of art, including thematic, symbolic, emotional, intellectual, conceptual, and narrative connotations, which together with its form give it it’s total meaning.

Question 9

composition

Answer 9

the organization and arrangement of the art elements and subjects with relation to negative shapes in the picture plane of a work of art.

Question 10

collage

Answer 10

process of using alternative materials adhered to the surface of a two-dimensional artwork, such as patterned material, printed matter, photographs, colored paper, etc.

Question 11

cropping

Answer 11

to limit to or focus in on a fragment of a larger composition.

Question 12

color theory

Answer 12

the study of the interaction of color, and the mixing and juxtaposition of colors to obtain specific interactions useful in many visual applications. The color wheel is a very important tool in the application of color theory, and the three aspects of color significant to the color are hue, value, and chroma.

Question 13

color wheel

Answer 13

Spectral circular layout of color used to associate primary, secondary, and tertiary colors, as well as complimentary and analogous colors pairs. From the application of color theory an artist or designer is enabled a greater dimension and understanding of color interaction.

Question 14

complimentary colors

Answer 14

two colors opposite each other on the color wheel, which notably interact with each other in specific and fairly predictable ways. When mixed in just the right proportion two compliments will result in neutral grey, and when set next to each other in their pure states cause a visual vibration known as simultaneous contrast.

Question 15

cool colors

Answer 15

variations of the color blue in relative degrees of purity and value.

Question 16

dead color

Answer 16

term for colors used in an under-painting, often of a drab or unspecific nature

Question 17

eye level

Answer 17

used interchangeably with horizon line in linear perspective as a reference to which edge lines of regularly shaped objects naturally converge.

Question 18

economy

Answer 18

using visual elements or applications in such a way as to render the essence of an artistic idea, as with implied line or shape for example.

Question 19

figurative art

Answer 19

artwork that shows recognizable images from landscape and still-life, to human or animal forms

Question 20

form

Answer 20

the physical make-up of a work of art, and its relation to the art elements. In contrast to: but inseparable from, a works content. Also: an objector the description of an object, with three-dimensional qualities.

Question 21

frottage

Answer 21

French for “rubbing”, a method of generating imagery with drawing materials rubbed over a ground laid over a textured surface. A process associated closely with surrealist artist Max Ernst.

Question 22

figure/ground

Answer 22

• (figure) an image of something recognizable, such as an object or a person, in a work of art. Also referred to as positive shape, as opposed to negative space.
• (ground) (1) the physical surface on which two-dimensional artwork is executed. (2)the opposite of the figure, in a figure/ground relationship, also referred to as the background, field or negative space
• (f&g relationship) The relationship in a pictural composition between objects and empty space between the objects, that is critical to consider for creating a balanced and effective composition.

Question 23

gesture drawing

Answer 23

quick, all encompassing statement of forms, defining the subject’s general characteristics; movement, weight, balance, etc. Gesture is also somewhat the degree of “movement” utilized in the process of the drawing

Question 24

gouache

Answer 24

opaque, as opposed to transparent, watercolor, often used by designers

Question 25

geometric shape

Answer 25

shape created by mathematical means, variation of circles, squares and polygons, and easy to reproduce by mechanical means

Question 26

horizon line

Answer 26

imaginary line used in linear perspective drawing , to which parallel lines in architecture and sometimes nature seem to converge to. Also Eye Level.

Question 27

invented texture

Answer 27

texture that does not represent another existing or actual texture, but is created more through application of a medium, combined with the artist’s intentions. Examples might be cross hatching, scribbled line, stippling and scumbling

Question 28

iconography

Answer 28

symbolic subject matter attributing strongly or historically to narrative artwork

Question 29

implied line

Answer 29

thinning and disconnected line that reappears in a drawing, in which the viewers eye naturally fills in.

Question 30

local color

Answer 30

perception of a color under light and conditions that render it closer to its actual nature. In contrast to: optical color

Question 31

mechanical line

Answer 31

a line produced with a straight edge, compass, template or other mechanical device, that is of a uniform weight throughout

Question 32

narrative

Answer 32

in painting or drawing a suggestion of a story that unfolds throughout the imagery.

Question 33

naturalistic

Answer 33

when subject matter in a representational artwork is very accurately portrayed

Question 34

non-representational art

Answer 34

art that does not depict in any way things from the real or natural world. Also: nonobjective or nonfigurative art.

Question 35

optical color

Answer 35

apparent perceived color of a hue being altered by abnormal light sources, or adjacent colors. In contrast to: local color.

Question 36

organic shape

Answer 36

a shape depicting or resembling something of a living or geological form, without the regularity of a geometric shape

Question 37

one-point perspective

Answer 37

a drawing method that shows how things appear to get smaller as they get further away, converging towards a single “vanishing point” on the horizon line

Question 38

primary color

Answer 38

the three irreducible hues of the color wheel; red, blue, and yellow. Also the 3 basic building blocks of color theory, from which all other colors are derived

Question 39

picture plane

Answer 39

the two dimensional space on which a world of art is composed. When used in a pictorial fashion creating the illusion of three dimensional space, it can be said to be “denied.” Likewise, when it’s flatness is emphasized, it is said to be “favored.”

Question 40

repetition

Answer 40

use of similar elements in a repeated fashion, such as line, shape, form, value, or color, to unify a composition or create rhythm

Question 41

rhythm

Answer 41

visual movement created in a work of art , often through the use of repetition

Question 42

secondary color

Answer 42

color obtained by mixing two primary colors. They are green, violet, and orange.

Question 43

sgrafitto

Answer 43

Italian for “scratched off” a technique of scraping into a layer of paint color to reveal underlying color

Question 44

spatial

Answer 44

pertaining to the illusion of or reference to space, see also; pictorial composition

Question 45

scumble

Answer 45

to make (something, such as color or a painting) less brilliant by covering with a thin coat of opaque or semiopaque color applied with a nearly dry brush

Question 46

simulated texture

Answer 46

visual imitation of a tactile quality which can range from a suggested quality to an illusionistic duplication of a surface. Often facilitated with the use of the technique called frottage

Question 47

simultaneous contrast

Answer 47

juxtaposition of complimentary hues, which created illusions of hue intensity, apparent cast tints of color, and visual vibrations between borders or fields

Question 48

trompe l’oeil

Answer 48

French for “to fool the eye”, referring to artwork that closely depicts that which it represents

Question 49

two-point perspective

Answer 49

a technique in art involving two lines diverging into two separate vanishing points

Question 50

warm color

Answer 50

variations of and including the colors read and yellow. With respect to color theory, these affected colors have certain interactions with cool colors and colors of relative less or more warmth