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ART > for midterm (100 points) > Flashcards

for midterm (100 points) Flashcards

1
Q

what is visual literacy?

A
  1. mainly started being used in the 1960s to examine perception, Gestalt based.
  2. more formal than content readings (formal: what it looks like. Content: what it means)
  3. reflected late modernist ‘scientific’ design ideas, used to mean having some facility with visual culture
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2
Q

what is visual culture?

A
  1. visual cultural artifacts
  2. considers artifacts as complex embodiments of societally contracted concepts and norms, culturally determined.
  3. de-emphazies hierarchical status for art.
  4. most introductions privilege content over formal aspects
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3
Q

Gestalt principles

A

German for ‘form’ in this context it means ‘unified whole’ or ‘configuration’ the main point is in the perception the whole is different then the sum of its parts.

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4
Q

law of Prägnanz

A

‘pithiness’ or ‘concise and meaningful’ we are driven to perceive things in symmetrical, simple, and regular form

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5
Q

law of proximity

A

the closer together objects/subjects the more they are perceived as one

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6
Q

law of similarity

A

elements that look similar will be perceived as part of the same form

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7
Q

law of good continuation

A

tend to continue contours whenever the elements of the pattern establish an implied direction.

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8
Q

law of closure

A

tend to close a space by completing a contour and ignoring gaps in the figure.

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9
Q

law of figure/ground

A

a stimulus will be received as separate from its ground

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10
Q

the field

A

visual field

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11
Q

center

A

visual weight, every shape or group different

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12
Q

the edge

A

decision of where to crop

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13
Q

top and bottom

A

sense of gravity. work with/against potential energy

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14
Q

left and right

A

reading habit, play with sequence

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15
Q

grouping

A

graspable visual patterns, formal or conceptual

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16
Q

the picture plane

A

literal/illusion, historically various empthysisn

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17
Q

mark making

A

specific evocative quality, set tone

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18
Q

texture

A

actual or visual helps give weight to the piece

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19
Q

pattern and ornament

A

repetition, can give texture add or shade meaning, underlying grid system.

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20
Q

grids

A

proportional system to organize forms on a surface

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21
Q

figure and ground

A

simplest visual duality, create space

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22
Q

gradients

A

any gradual, orderly stepped change in visual quality, creates space

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23
Q

overlapping

A

simple depth cue, can imply importance

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24
Q

size change

A

depth cue

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25
Q

vertical location

A

typical realism expectations is that foreground is bottom

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26
Q

pictorial box

A

stresses stage-like-space

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27
Q

frontal recession

A

overlapping areas parallel to picture plane (orderly)

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28
Q

diagonal recession

A

overlapping at an angle to picture plane, dynamic

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29
Q

space moving out

A

illusions of things coming out of picture, baroque innovation

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30
Q

enclosed space

A

containment, cue-dependent, intimate or oppressive

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31
Q

open space

A

space seems to continue beyond picture confines

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32
Q

packed space

A

compressed energy, expressive

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33
Q

empty space

A

eloquent by omission, less is more

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34
Q

vanishing-point- perspective

A

system with limitations, effectively places viewer, can distort not how we see, tends to weight bottom

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35
Q

isometric

A

linear, without a vanishing point, parallel lines in nature that stay that way. squish effect, interaction of 2D surface and space

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36
Q

surface and space

A

various strategies to reinforce interaction of 2D surface and spatial illusion

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37
Q

size

A

actual mass

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38
Q

scale

A

feeling of space projected

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39
Q

structure and scale

A

smaller structures within the whole, substructures

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40
Q

scale

A

feeling of space projected

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41
Q

golden section

A

greeks

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42
Q

tatami mats

A

traditional Japanese system

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43
Q

monumental scale

A

larger, simpler forms, downplaying detail, independent of actual size

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44
Q

intimate scale

A

implied informality, fluidity and impermanence, private

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45
Q

shape

A

visible record of forces on flat surface, inside, outside tension. actual/implied. GESTALT

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46
Q

simple and complex shape

A

easily or not easily grasped by the eye

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47
Q

geometric and organic shape

A

baggage. Nature/ culture contrived/evolved

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48
Q

positive and negative shape

A

always important relationship. figure and ground. interesting when more equally weighted.

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49
Q

weight

A

symmetrical, geometric, squarer, higher-placed shapes = heavier value and texture also play role

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50
Q

tension and shape

A

imagine basic shapes pulled, distorted gives energy and direction

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51
Q

line

A

simplest graphic unit, abstraction

52
Q

handwriting

A

pressure-sensitive, gestural, intimate

53
Q

impersonal line

A

unvarying, mechanical, intellect signifier

54
Q

material and line qualities

A

line affected by material used

55
Q

implied line

A

direction established by gestalt (good continuation)

56
Q

line as edge

A

sense of linear edge of shape, feathered transitions

57
Q

line and three dimensional form

A

line can strengthen 3-D form, actual or illusion, hatching and cross hatching

58
Q

directed tension

A

gives motion, often diagonal

59
Q

movement and change

A

essentially gradient, orderly progression

60
Q

vertical/horizontal and diagonal

A

vertical and horizontal is still
diagonal is motion
they play off each other

61
Q

stroboscopic motion

A

overlapping gradient

61
Q

time

A

visual devices to imply the passage, comic strip, multiple images (left to right)

62
Q

value and light

A

2 D illusion of light

63
Q

value as light and comparing values

A

context and comparison to make judgments

64
Q

weight of value

A

darker is heavier, clustering marks gives darker value

65
Q

value contrast

A

controlling range of values gives degrees of luminosity

66
Q

space and volume

A

tonal gradient gives sense of volume

67
Q

transparency and reflection

A

values can create illusions of transparency or projected light

film decreases light-> subtractive
lightens -> additive

68
Q

color

A

what is visible or frequencies of light

light is color
things have color

69
Q

HUE

A

location on the spectrum, humans can tell 150 distinct pigments, primary and secondary

70
Q

value

A

hue has its own value add white/black some colors will stay the relative same others will change.

71
Q

intensity

A

lightness or dullness, add black, white, grey or complement to make it neutral

72
Q

temperature

A

warm or cool

73
Q

complementary colors

A

opposite, mixing will create something neutral

74
Q

color systems

A

how to classify colors

75
Q

mixing light

A

light primaries. red, blue/violet and green

76
Q

mixing pigment

A

more colors is less light and subtractive

77
Q

monochromatic

A

same hue at different values

78
Q

analogous

A

hues close to or touching on the color wheel, different values and intensities

79
Q

triadic harmonies

A

three color groups evenly spaces on color wheel.

80
Q

split complementary harmonies

A

color with 2 colors adjacent to its complement, harmony is subjective

81
Q

color keys

A

music analogy
high/low

82
Q

interaction

A

always in contact, simultaneous contrast, color of a field will call forth its opposite quality in a color places in it.

83
Q

weight and balance

A

darker is heavier

84
Q

making light

A

a kind of consistency that unifies all the different color areas

85
Q

making space

A

cool colors tend to recede, warm advance, find various levels

86
Q

local color

A

when local color is strong, light appears to be colorless.

87
Q

atmospheric perspective

A

objects increasing take on the color of the light the farther away they are

88
Q

description and subjective color

A

even realism is a type of abstraction (transition)

89
Q

color symbolism

A

over history, various system cultural ideas

90
Q

levels of order

A

hierarchies->dominant/secondary forms
order/ randomness

91
Q

harmony and dissonance

A

both deal with views expectations

92
Q

balance

A

lively configuration of visual forces to create something greater than a simple sum of parts

93
Q

tension

A

some degree of distortion deformation resistance

94
Q

radial

A

balance from center point

95
Q

bilateral

A

right or left
top and bottom balance

96
Q

asymmetry

A

about difference and tensely revolved contrast

97
Q

clarity ambiguity

A

eye has built-in preferences for clarity,(Prägnanz) purposeful ambiguity is thought-provoking

98
Q

hierarchy ambiguity

A

allows seeing the whole organizational structure, the subdivisions into which smaller parts fit

99
Q

families of forms

A

connections or sublet variations between shapes, colors and textures

100
Q

repetition and variation

A

contact-dependent, can emphasize mechanical, hue quantities, tedium

101
Q

rhythm

A

structuring visual motion, music analogy

102
Q

curve

A

lyrical, movement, organic

103
Q

arabesque

A

complicated interweaving linear composition, grid alternative

104
Q

straightness

A

visual symbol of non-interaction, beyond merely straight

105
Q

‘culture’

A

has a historically been juxtaposed against ‘nature’

106
Q

culture

A

is partly a framing device

107
Q

urban culture

A

what humans have done or added to nature by their inventiveness and labor

108
Q

complex relationship

A

although much of the earth is controlled and developed nature is still a determinant humans are part of nature

109
Q

Anthropocene

A

our current era during which human activities have had a HUGE impact in nature and how the earth lives

110
Q

culture concepts

A

base, superstructure and ideology

111
Q

base and superstructure

A

marxist architectural metaphor
BASE- material, means of production
SUPERSTRUCTURE- ‘spiritual’ phenomenon, ideology, art, religion, science and philosophy.

112
Q

ideology

A

a shared set of societal values and beliefs

113
Q

Karl MARX

A

ideology is false consciousness

114
Q

Louis Althusser

A

we’re unconsciously constituted as subjects by ideology

115
Q

hegemony

A

the rich in gramscis view, culture using ideology rather than violence, force, or coercion to attempt to maintain the status quo.

116
Q

hegemony pt.2

A

dominant ideologies are always in flux -antino

117
Q

culture and civilization

A

a culture synonym with broader and evaluative connotations

118
Q

civilization

A

mannered (refined)

119
Q

paradox

A

civilization usually increases the potential for destructive power

120
Q

culture and class

A

high culture- upper middle class, royalty, aridtoctacy

middle brow- bourgeoisie or middle and lower middle class

low culture- proletariat/working class and underclass

121
Q

kitsch

A

visual artifacts judged to have little or no aesthetic value

122
Q

camp

A

recodes kitsch as valuable, sees value through its state in involving class standards as ‘bad taste’ - connoisseur of kitsch

123
Q

traditionally

A

culture belonged to the elite, it took money to have culture

124
Q

connoisseur

A

master of taste, masters the rules of a subculture

125
Q

cultural capital

A

like money, everyone has some access to culture

126
Q
A

ART (3 decks)

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