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Art Ap 1-C2 > MIDTERMS > Flashcards

MIDTERMS Flashcards

1
Q

BASIC PRINCIPLES OF DESIGN

in visual communication, refers to how the elements of art (line, texture, form. Value, colors shape and space ) relate to each other, within the composition in terms of their visual weight to create visual equilibrium.

A

Visual Balance

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2
Q

TYPES OF VISUAL BALANCE

  1. the exact or near matching of left and right sides of a three-dimensional form or a two-dimensional composition.
  2. occurs when you have different visual images on other side of a design, and yet the image still balance.
  3. type of balance based on a circle with its design extending from a center.
A
  1. Symmetrical balance
  2. Asymmetrical balance
  3. Radial
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3
Q

BASIC PRINCIPLES OF DESIGN

the principle of art that creates cohesiveness by stressing the similarities of separate but related parts.

sense of togetherness amongst other wise separate

A

Harmony

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4
Q

BASIC PRINCIPLES OF DESIGN

measure of how well each element of your design works together. It describes the overall design, and whether it’s components work to your message to your reader.

most important principle of design

holds your design together both visually and conceptually. It emphasizes your concept and theme and helps communicate. Through unity your elements aren’t competing with each other for attention.

A

Unity

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5
Q

BASIC PRINCIPLES OF DESIGN

defined as an area or object within the artwork that draws attention and becomes a focal point.

A

Emphasis

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6
Q

BASIC PRINCIPLES OF DESIGN

defined as a strong, regular repeated pattern of movement and sound. It is created when one or more elements of design are used repeatedly to create a feeling of organized movement.

achieved through linear elements, alternating elements. Gradation.

A

Rhythm

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7
Q

TYPES OF RHYTHM

  1. repeating elements with no specific regular interval
  2. like the beating of a heart, it follows the same intervals over and over again.
  3. repeat more than one element design
A
  1. Random rhythm
  2. Regular rhythm
  3. Alternating rhythm
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8
Q

BASIC PRINCIPLES OF DESIGN

refers to the relative size and scale of the various elements in design. The issue is the relationship between objects, or parts of the whole. This means that it necessary to discuss it in terms of the context of standard used to determine it.

harmonious relationship between two or more elements of scale

A

Proportion

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9
Q

BASIC PRINCIPLES OF DESIGN

the principle of art that adds interest to an artwork.

adds interest by using contrasting elements within the composition.

Refers to the use of different qualities or instances of the visual elements. It is the opposite of repetitive or monotonous use of the elements.

A

Variety

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10
Q

BASIC PRINCIPLES OF DESIGN

simply repeating a single element many times in a design. And can be achieved by using repeated messages.

similar to rhythm and helps create a sense of movement

it is a recurrence of a particular line, pattern, shape and other visual elements in a single or part of the series.

A

Repetition

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11
Q

alternative venue for knowing ourselves and looking into the depths and real meaning of what we are doing in everyday life.

making to develop the artist in us awakening the art in us that has been
stagnant or undeveloped for numerous years.

A

Soul Making

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12
Q

CATEGORIES OF SOUL MAKING

  1. Refers to imaging or representing in any form which may be through painting sculpting drawing storytelling poetry dancing composing or taking notes.
  2. The moment we write engrave and inscribed our own thoughts ideas commentaries criticisms and positive and negative emotions.
  3. Transforming any found or use object in an into a musical instrument allows one to discover harmony and balance to produce a sound that is entertaining and handsome and magical
  4. Our life is full of movements it is filled with various beats, life is full of flowing images accompanied by narratives. Everything we do in life is performance we perform live at times with the past to capture the movements of for energy and the world
  5. Anything can be crafted by using different evocative descriptions of life experiences and explorations like photograph studies puppets and mask constructions and notepad studies
A
  1. Crafting Images
  2. Crafting Stories
  3. Crafting Instruments
  4. Crafting Movements
  5. Crafting Techniques
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13
Q

students receive guided instruction on how to start and finish a typical art project using efficiency and best practices.

A

Art making process

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14
Q

ART MAKING PROCESS

begins with sketching, grid-lining, drawing, or filling in underpaintings. In this phase, students learn about introductory best practices on techniques and approaches, and understanding the art concepts.

A

Phase One

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15
Q

ART MAKING PROCESS

includes adding multiple layers of tone, color, or paint within an artwork. Here, students are required to problem solve and are encouraged in their art to explore, manipulate, and master technique based art applications.

A

Phase Two

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16
Q

ART MAKING PROCESS

ends with students adding final detail and craftsmanship showcasing their finished projects. This includes demonstrating the understanding of the art elements, habits of mind and effort, communication skills, habits of work, composition concepts, and execution into a well crafted project.

A

Phase Three

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17
Q

STAGES OF ART MAKING

  1. This is one of the most exciting moments in the process of creating art: that beautiful moment when inspiration strikes
  2. While it’s not the most glamorous part of the creative process, it is the period that is vital to creating art. Basically, this is the time that elapses after you’ve had your idea, but before you start making art. It can transpire in many different ways.
  3. can be confused with the “percolation” period, but it is a more active and focused time. You’ve settled on your inspiration and how you’d like to proceed. Now, it’s a matter of figuring out how to make it happen.
  4. Finally, it’s time to make it happen! It is the time during which you are solidly on your path. You have your pen to paper, your brush to canvas. You are creating.
  5. After you create a piece of art, there might be a slight tizzy of activity: sharing it with family and friends, delivering it to a client or hanging it on the wall. But regardless of the end point of the art, its completion often leads to a period of it.
A
  1. Inspiration
  2. Percolation
  3. Preparation
  4. Creation
  5. Reflection
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18
Q

all involve outsiders taking something from a culture other than their own.

A

Cultural Appropriation

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19
Q

CULTURAL APPROPRIATION

occurs when the possession of a tangible object (such as a sculpture) is transferred from members of one culture to members of another culture.

The removal of the friezes from the Parthenon by Lord Elgin is often regarded as a case of appropriation. The transfer of a totem pole from the site of a Haida village to a museum is another case of appropriation.

A

Object Material Appropriation

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20
Q

CULTURAL APPROPRIATION

this form of appropriation involves the reproduction, by a member of one culture, of non-tangible works of art (such as stories, musical compositions or dramatic works) produced by some other culture.

A musician who sings the songs of another culture has engaged in appropriation, as has the writer who retells stories produced by a culture other than his own. Robert Bringhurst’s versions of Haida myths may count as appropriation . A recording made by an ethnomusicologist could also be an instance of appropriation.

A

Non Material Appropriation

21
Q

CULTURAL APPROPRIATION

Sometimes artists do not reproduce works produced by another culture, but still take something from that culture.

In such cases, artists produce works with its elements in common with the works of another culture. White musicians who compose jazz or blues music are often said to have engaged in appropriation in this sense. Similarly, white Australians who paint in the style of the aboriginal peoples would be engaged in appropriation.

A

Stylistic Appropriation

22
Q

CULTURAL APPROPRIATION

This form is related to stylistic appropriation. Sometimes artists are influenced by the art of a culture other than their own without creating works in the same style.

Picasso, for example, was influenced by African carving, but his works are not in an African style. Similarly, Ravel was influenced by the jazz of African-Americans, but his compositions are not in a jazz idiom. Rather than appropriating an entire style, such attests’ have appropriated only basic ideas.

A

Motif Appropriation

23
Q

CULTURAL APPROPRIATION

occurs when someone from one culture represents members or aspects of another culture.

Many of Joseph Conrad’s novels involve appropriation, since Conrad frequently wrote about cultures other than his own. W. P. Kinsella’s stories about the Hobbema Indian reserve are often cited as examples of objectionable appropriation.

A

Subject Appropriation

24
Q

the process of creating something using fibers gained from sources like plants, animals, insects (think silk worms!), or synthetic materials. Making it is an extremely old art form. Its fragments have been found dating back to prehistoric times and there’s a good reason for this.

A

Textile Art

25
Q

It is tedious and requires numerous steps for a single cloth to be completed.

A

T’NALAK PROCESS

26
Q

STEPS IN T’NALAK PROCESS

Harvesting of the abaca and the stripping of the fibers

A

Step one: kedungon or abaca plant

27
Q

STEPS IN T’NALAK PROCESS

Segregating the fibers and connecting them from end to end

A

Step two: connecting or tembong

28
Q

STEPS IN T’NALAK PROCESS

Preparing or setting the fibers on the loom for knotting

A

Step Three: Setting or Semdang

29
Q

STEPS IN T’NALAK PROCESS

Knotting the fibers prior to resist-dyeing

A

Step four: designing or mebed

30
Q

STEPS IN T’NALAK PROCESS

Gathering and preparing the natural
dyes, dyeing the warp and untying knots

A

Step five: dyeing or temogo & untying of knots or hemto

31
Q

THE T’NALAK PROCESS

Setting the dyed warp on the backstrap loom

A

Step six: weaving or mewel

32
Q

THE T’NALAK PROCESS

Burnishing the surface of the t’nalak

A

Step seven: ironing or semaki

33
Q

Community: Tboli

Origin: South Cotabato

The traditional textile woven by the Tboli women, it represents birth, life, union in marriage and death, and shows the uniqueness and identity of the indigenous group. It is often utilised as blankets and clothing, and used in royal wedding ceremonies on rare occasions.

Tboli weavers are often called dream weavers

A

T’NALAK

Abaca fibers traditionally have three colours: black, red, and white.

34
Q

Community: Mandaya

Origin: Eastern Mindanao

The Mandaya, which can be found in the provinces of Davao Oriental, Davao del Norte, Compostella Valley, Surigao del Sur, and Agusan del Sur, have a strong weaving tradition as seen in their coarsely textured ___, hand-woven using a special kind of back-strap loom, made from abaca fibers, and following intricate designs revolving around man and nature, specially the crocodile.

women’s skirt & blankets/wraps for dead

They use a mud dyeing technique. Used to obtain black, the technique is based on the reaction between the tannins applied on the the yarn before treatment, and the iron found on the mud. The bark of the tree, which contains tanninsm is pounded to a pulp and boiled together with the abaca yarn. The mud is then added to the mixture. The yarn is steeped for one to several hours for the best results.

A

Dagmay

usually tell the story about the weaver and her community, as well as the spirits that live on Earth.

35
Q

Community: Tausug

Origin: Sulu Archipelago

The Tausug women are experts in tapestry weaving and embroidery, while men do the large hanings in appliqué. They specialise in the production of (head scarf) and kambot/kandit.

traditionally worn by men and warriors.

The weaver has to clearly imagine the pattern in her mind as she inserts one coloured weft yarn one at a time to fill up the space in the warp, in a sequence her mind only knows. The weaver creates a perfectly symmetrical composition of squares and Xs with hooks, and in seven to eight colours.

A

Pis Syabit Weave

A most complicated design technique, its tapestry weaving of Tausug has no preset pattern sticks or predesigned warp yarns into which the weaver inserts the desert yarn.

36
Q

Community: Yakan

Origin: Basilan

a square cloth best known for its intricate and rich design , involving optical illusion to create depth in the patterns. Known for being highly-skilled, with impressive weaving repertoires, Yakan weavers produce textile with five different kinds of weaving, often differentiated by technique, pattern, and function.

oldest and most traditional technique in producing ornamented woven textiles

worn by Yakan women in different ways depending on the occasion such as elen-elen (for everyday wear), hap tabuan (for going to market), and ginuna sipagkawin (worn like a veil when attending a wedding).

A

Saputangan Tapestry Weave

  • The colourful striped siniluan is characterised by warp-floating pattern.
  • The inalaman is made using an elaborate supplementary-weft technique, and often used for women’s wraparound skirt.
  • The pinantupan, which is also used for the wraparound skirt, utilises simple weft pattern arranged in the bands.
37
Q

Origin: Maguindanao

(also pronounced inol) is a time-honored weaving tradition of the Maguindanao people usually made into malong or wraparound skirts commonly and regularly used by both sexes. The three types of threads being used in weaving are tanor which is cottony, the silky rayon, and katiyado which is the shiny type.

|It is the Maguindanaoan word for “woven”.

For years this cultural icon has been a “given” among Maguindanao women: they wear it, they weave it, and sell it as ”malong”. It was only in 2017 when the province of Maguindanao and the Department of Tourism in Autonomous Region in Muslim Mindanao (DOT-Armm) decided to highlight the fabric that represents the province as one tapestry, thus the birth of Inaul Festival.

A

Inaul

38
Q

was widely regarded as one of the best weavers and was bestowed the Gawad sa Manlilikha ng Bayan in 1998.

A

Lang Dulay

39
Q

T’NALAK

the spirit of abaca

A

Fu Dalu

40
Q

T’NALAK

Fibers are connected from end to end, and knotted and prepared for design prior to resist-dyeing. This process is known as

A

Ikat Method

41
Q

Who created the five stages of art making?

A

Jessie Oleson Moore

42
Q

Are materials composed of a web of natural or artificial fibers- spans global cultures and represents one of the earliest human technologies

A

The craft of designing or creating textiles

43
Q

Techniques for producing textiles

A

weaving, crocheting, knitting, felting pleating and looping

44
Q

extraordinary range of materials of creating textiles

A

cotton , linen , silk , wood etc

45
Q

Examples of such textiles

A

tapestries, rugs, quilts, and of course clothing

46
Q

This plant is from the same family as the banana tree

A

abaca plant or the kedungon

47
Q

small weaver’s blade

A

sukt’bong

48
Q

T’boli
backstrap loom

A

legogong

49
Q

t’nalak involves burnishing the surface with

A

saki or cowrie shell,

Art Ap 1-C2 (6 decks)

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