INTRODUCTION Flashcards

1
Q

A well planned work of art is achieved by employing three important components

A

Design
Elements of design
Principle of design organization

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2
Q

These three elements are interwoven to create order.

A

Design
Elements of design
Principle of design organization

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3
Q

refers to what is being depicted and might be helpful in deriving a basic meaning.

It could be seen as the story the work of art is telling.

A

Content

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4
Q

it depicts a scene in which humans portray literal illustrations of Dutch proverbs and idioms.
- It may seem like an ordinary “slice of life” painting, however knowing its content more closely, it is actually a depiction of madness in society.

A

“Nelherlandish Proverbs” by Peter Breugel the llder

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5
Q

The artist employs various visual qualities in creating a work of art.
T’he language of art has its own special vocabulary.

A

Art elements

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6
Q

Visual vocabulary is made up of the art elements namely

A

Line
Color
Shape
Form
Space
Texture

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7
Q

is the fundamental form of visual communication.
- They are essential in the world of art.
- The very first effort at making art may have involved lines.
- it is the element of art that is a continuous mark made on some surface by a moving point.
- As a graphic tool, it is invented to act symbolically in artistic and literary expression.
- it is employed on an objective and subjective level.

A

Line

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8
Q

a line is used to illustrate simple measurements and surface characteristics

A

Objective level

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9
Q

lines are translated to suggest varied emotional conditions and reactions.

A

Subjective level

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10
Q

What is the important physical property of line

In viewing a picture, our eye movement is controlled significantly by a large measure of line directions.

A

Direction

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11
Q

It runs parallel to the ground and suggest peaceful or calmn

Serenity, infinity, and perfect stability are generally suggested by this type of line

“Black and Gola Horizonta) Uihes”
Lieve Cabriel

A

Horizontal line

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12
Q

are lines that run up and down and suggest strength and dignity.
-It also represents aspiration, poise, and potential movement.

Astrid Stoeppels Vewisal Lines
Part 2 shows how lines can depict strength.

A

Vertical lines -

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13
Q

are lines that suggest tension.

We can see a lot of tension and movement in
Anghel Estevez’s
Composition in Diagona) lihes (2005)

A

Zigzag lines

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14
Q

suggest a flowing movement.

Even with a stationary subject, we can sense a flowing movement in Nikos Gyitakis” Liquid Portrai).

A

Curve lines

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15
Q

these are lines that suggest confusion or action.
We can see how this image looks alive and in motion.
Urina Dobrotsver’s 2ig39g
Absiraciion (2018)

A

Diagonal lines

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16
Q

It is the element that we are most sensitive with, it arouses our most universal appreciation in art.

  • It is the most expressive element because its physical quality directly and immediately affects human
    emotions.
    -It is an element of art that is derived from reflected light and has three distinct properties:
A

Color

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17
Q

it is an attribute of a color that permits it to be classed as primary, secondary, intermediate, etc.

Primary colors: Red, Yellow, and Blue Secondary colors: Orange, Green and Violet;
Tertiary or intermediate colors: Red-Orange, Yellow-Orange, Yellow-Green, Blue-Green, Blue-Violet, and Red-Violet.

A

Hue or the name of the color-

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18
Q

refers to the lightness or darkness of a hue.

A

Value

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19
Q

refers to the brightness or dullness of a hue.
When a hue is strong and bright, it is said to be high in intensity.

The presence of colors is dependent on the light of its source

A

Intensity

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20
Q

There are various schemes in which properties of color are used in artworks:

A

Monochromatic
Complementary
Analogous
Cool temperature
Warm
Cool

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21
Q

this color scheme uses different values of a single hue

E.g. Pablo Pisasso’s “Breakiast
of a Blind Man” which is dominantly blue.

A

Monochromatic

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22
Q

this color scheme uses colors that are placed side by side on the color wheel and share a hue

Van Gogh’s “Sunflowers”
(1889) uses colors that are placed in the yellow quadrant of the color Wheel.

A

Analogous

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23
Q

this color scheme reminds us of the Sun and warmth.
-Warm colors are in hues of red, orange, and yellow and possessing longer light wavelengths.

Erin Hanson “Gilded Path”
(2016)

A

Warm

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24
Q

this color schemes bring to mind things that are cool such as grass or water.
- Cool color schemes contain blue, green, and violet hues.

E.g. Lisa Mitchell “purple Profusion”

A

Cool

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25
Q

It refers to an area that is clearly set off by one or more of the other elements
- they are limited to two dimensions, namely height and width.
- Squares, circles, and triangles are some of the many examples of two-dimensional surfaces that determine shape.

They are described according to its fundamental sources

E.g. Patricia Gleasby “Geometric
Shapes on Brown”

A

Shape

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26
Q

are shapes that look as though they were made with a ruler or drawing tool.
They are identified by any precise or regular shape.
There are five basic geometric shapes:
Square, circle, triangle, rectangle, and oval

E.g. Manil.” Kanvinde
MGsometrie Abstraction”

A

Geometric shapes

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27
Q

are shapes that are in constant transformation or in a seeming motion.
- They are shapes that are not regular or even.
- Their outlines may be curved, angular, or a combination of both.

E.g. Nansy Crismold
“Biomarphis Shapes”

A

Organic/Free-form shapes

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28
Q

refers to objects with three dimensions.

Like shapes, forms have height and width and can be either geometric or organic.
Unlike shapes, forms have a third-dimension depth.

E.g. Jorn Utzon’s “Sydney Opera
House” is very iconic for its distinct form, it is one of the most recognizable buildings of the 20th century. The form of the Sydney Opera House was inspired by nature.

A

Form

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29
Q

refers to the real or implied distance between, around, above, below, and within objects.

A

Space

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30
Q

in both two or three-dimensional works of art, the shapes and forms or the focus of the artwork

A

Positive Spaces -

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31
Q

the empty area around and between these shapes and forms

Thomas Gole’s “The Last of the Mohisans”

A

Negative spaces-

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32
Q

refers to the way things feel or look as though they might feel, if touched.
Example: an object might feel smooth, rough, soft, or grainy.
Imagine the bark of the tree and its very rough texture, or the smoothness of polished marble of famous statues.

E.g. Olga Smith’s “Rough
Textures”

A

TEXTURE

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33
Q

is a special type of translation that preserves the message from one language and transfers it into another language, either through written content, visual design, etc.

A

Transcreation

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34
Q

0This is one of the rare and unique forms of transcreation wherein a song was transcreated into a sculpture.
In the inscription on the
golden plate behind the sculpture, Tommy Steele says that
the sculpture is “dedicated to all the lonely people,”

A

A song by the legendary British Rock Band,
The Beatles”
“Eleanor Rigby”” was immortalized by Tommy Steele’s sculpture.

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35
Q

The language of art has rules called

A

Art Principles

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36
Q

are means in the course of looking and
appreciating the work of art.

A

Art Principles

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37
Q

The design concept roots from ———
whose artistic investigations and teachings identify the principles of design.

A

Arthur Wesley,Dow

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38
Q

Art principles include

A

Balance, variety , Harmony ,
Emphasis, Proportion, Pattern, Movement, and rhythm

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39
Q
  • it is the principle of art concerned with arranging art elements in an artwork so no one part of that work overpowers, or seems heavier than any other part.
A

Balance

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40
Q

Balance can be categorized into three:

A

Formal, Informal, and Radial.

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41
Q

two equal parts of the pictorial place of an artwork or image stand like mirror images of each other.

A

Formal balance or Symmetrical balance

42
Q

different elements in the artwork appear to have equal weight.

A

Informal balance or Asymmetrical balance

43
Q

works that have radial balance
have elements or objects positioned around a central point or hub.
Parts or patterns of the design seem to move outward from the center. Just imagine a
dartboard.

A

Radial balance

44
Q
  • it is the principle of art concerned with combining art elements with slight changes to increase visual interest

The use of contrasting elements in achieving visual interest, stimulating movement as often observed in life is what is known as —-.

45
Q

when visual elements are related and give
an artwork a pleasing appearance, there is ————.
-It is a principle of art concerned with combining similar art elements to create a pleasing appearance.
-It is achieved through repetition and gradual changes.

46
Q

when an artist manages the noticeable part of the work, when it makes an object or an element of the work stand out, that is called

47
Q

Emphasis can be achieved in two methods:

A

Dominance and
Focal point.

48
Q

is making one element of an artwork as the strongest and most important part.

49
Q

can be achieved through isolation it is the process that makes the element of an artwork stand out from the pictorial field.
-Can be achieved by employing size, position on the pictorial field, contrast, or movement.

A

Focal Point -

50
Q

the principle of art concerned with the
relationship of certain elements to the whole and to each other.

is identified as normal and expected. Sometimes it is exaggerated and distorted.
- At times it can be idealized or faultless compared to nature.
-The human body commonly becomes the gauge when it comes to sensing proportion in visual art

A

PROPORTION

51
Q

refers to a two-dimensional decorative effect achieved through the repetition of colors, lines, shapes and/or texture.

52
Q

is the principle of Art concerned with creating the look and feeling of action to guide a viewer’s eye throughout a work of Art.

53
Q

just like music, visual arts also manifest ——-.
-It is the principle of art concerned with repeating an element of Art to make a work seem active or suggest vibration.

54
Q

Rhythm in visual arts can be classified into:

A

one-beat, alternating, progressive, and flowing.

55
Q

elements such as figures are drawn from one another in similar sizes and shapes.

A

Onebeat rhythm

56
Q

two geometric shapes are drawn in an alternating manner.

A

Alternating rhythm

57
Q

the repeated element is manifested in a consistent change.

A

Progressive rhythm

58
Q

is observed as a composition of elements in a graceful manner.

A

Flowing rhythm

59
Q

is a very important principle of art.
- It is achieved when elements and principles in a work of art are skillfully combined.
- When there is a sense or a feeling that everything fits together, it is called

60
Q

, to have a complete understanding and total appreciation of these works of art, we must also be familiar with the story behind each one. This is what we consider in humanities as

A

Reading the Image.

61
Q

the title of an artwork often speaks volumes about the subject, story, idea, or message behind it.
- The date of production often tells us the history behind an artwork, and we can place the artistic movement which the artwork belongs to
- We can also determine the political, social, or even the economic background of the artwork and the artist himself.

A

Title of the Work and its Date of Production-

62
Q

an artwork is a reflection of the artist.
- Knowing the name can help us understand why, how, where, and when was the artwork made.

A

Who is/are the Artist/s

63
Q

is also important to consider in reading the image.
- Knowing the medium used by the artist can help us understand his background and his strengths.
- Being familiar with the technique of the artist can help us determine his influences and inclinations.
- We can also determine which artistic period the artist belong or inspired

A

Medium and Technique

64
Q

the dimension of an artwork or the measure of spatial extent in a particular direction, such as height, width or breadth, or depth, of an artwork is another important consideration in reading the image.
Knowing the dimension can help us determine its proportions, its scale, and even the hard work that was put by the artist in creating the art piece.

65
Q

knowing the provenance of an artwork
can help us determine its origin or its history.
For art collectors, knowing the provenance can help determine the authenticity of an artwork.

A

Provenance

66
Q

According to acclaimed Art critic, Dr. Alise G. Guillerio there are four main planes of understanding when it comes to Art criticism

A

SEMIOTIC PLANE
ICONIC PLANE
CONTEXTUAL PLANE
AXIOLOGICAL PLANE OR EVALUATIVE PLANE

67
Q

covers “the elements and the general technical and physical aspects of the work with their semantics, or the meaning-conveying potential”.
- It is the study of signs, elements, technical, and physical aspects of work.
-It seeks to answer:
When, What, How, Factual Descriptions, Basic Analysis, Probable Symbolisms and Meanings, and The Background.

A

SEMIOTIC PLANE

68
Q

is concerned with its particular aspects and features.

A

Iconic plane

69
Q

the viewer draws out the dialogue relationship between art and society resituating the work in its context.

A

Contextual plane

70
Q

to quote Guillermo, “the axiological or evaluative plane has to do with analyzing the values of work. After the understanding of the work is the difficult task of evaluating it.”
- Our valuation depends on how one views the work.

A

Axiological plane or evaluating plane

71
Q

Any object has a color quality called

A

Pigmentation

72
Q

Colors of light, in sense when added color it will be white

73
Q

Colors of pigment, canceling out brightness

A

Subtractive

74
Q

Refers to the changes in the amount of reflected light which ranges from black to gray to white and vice versa

A

Achromatic value

75
Q

Manipulating light and shadow in painting

A

Chiaroscuro

76
Q

Exaggerated use of shadow to an extreme

A

Tenebrism or dark manner

77
Q

any flat surface onto which artwork is created

A

Picture plane

78
Q

Classification of shapes

A

Natural or organic shapes
Abstract shapes
Non objective or biomorphic shape
Geometric

79
Q

Seen in nature shapes like leaves

A

Natural or organic shapes

80
Q

No resemblance of shape to natural objects

A

Abstract shapes

81
Q

Seldom have reference to recognizable objects, but often show similarity to some organic forms

A

Non objective or biomorphic shapes

82
Q

These are called to shapes like rectangle squares etc

A

Geometric shapes

83
Q

Called to texture that cannot be identified through touching

A

Visual texture

84
Q

Elements of dance

A

Music
Movement
Choreography
Theme
Technique
Design
Pattern in time
Costume

85
Q

Elements of drama

A

Plot
Setting
Characters
Dialogue
Theme

86
Q

Important role in dance to which it is closely related

87
Q

How dancers use their body to move and create organized patterns.

88
Q

Steps and movements that are connected for it to be performed in an organized manner

A

Choreography

89
Q

Skill of dancer in executing movements

90
Q

Content or main ingredient of the dance

91
Q

Planned organization or patterns of movement in time and space

92
Q

Provided by rhythm to be executed in dance floor

A

Pattern in time

93
Q

It enhances the effect of the dance

94
Q

Overall structure of a play

95
Q

3 parts of plot

A

Exposition - familiarize in characters and situations
Complication - middle part, develops conflict
Resolution- situation becomes stable

96
Q

Locale or period where story takes place

97
Q

Persons involved in the story

A

Characters

98
Q

Words uttered

99
Q

What story means

100
Q

Elements of theater

A

The playwright’s- work out plot
Presentation of playwright’s creativity is called the pay

The performers- portrays characters in play
The directors- works W w playwright
Production design - scenery props makeups

101
Q

This is a requirement to create compositions for a good design
Serve as guide for visual artists

A

Rule of thirds

102
Q

The seven da vincian principles

Michael j gleb, 1952 how to hink like leonardo da vinci 1998

A

Curiosita
Dimostrazione
Sensazione
Sfumato
Arte/scienza
Corporalita
Connessione