Test 1 Flashcards

1
Q

Four Important skills for learning to draw

A
  • perception
  • manual
  • compositional
  • conceptual
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2
Q

Perceptual skills

A

learn how to see

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3
Q

Manual skills

A

learn to control materials

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4
Q

Compositional skills

A

learn to be aware of organizing the elements, work through several design options through preliminary

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5
Q

Conceptual skills

A

learn to think through and give form to visual ideas

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6
Q

Creativity definition

A

recombining existing elements in unique ways, resulting in a new object, image or idea
- not making something out of nothing
- motivated by some need

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7
Q

Stages of creativity

A
  1. inspiration - conscious formation of a problem or goal
  2. incubation - conscious mind rests, subconscious takes over
  3. illumination - sudden emergence of a solution to the goal, Ah-Ha!
  4. resolution - giving final form to the idea
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8
Q

Design definition

A

organization or arrangement of design elements to give form to a visual idea
- composition

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9
Q

Format definition

A

refers to the shape and dimensions of the drawing

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10
Q

Thumbnail sketches definition

A

small, quick, preliminary organizational line drawings that investigate a range of possible compositional alternatives
- concentrate on composition, layout, spatial organization
- not a mini drawing

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11
Q

Organizational line drawing definition

A

a light, simplified sketch which concentrates on mapping out general size and location relationships between forms and the drawing’s compositional structure
- observing relationships

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12
Q

Pentimenti definition

A

light, preliminary marks which serve as a tentative underdrawing
- record of the drawing process

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13
Q

Subject matter definition

A

that which is depicted in the drawing

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14
Q

Style definition

A

Characteristics of form which are consistent that make a work identifiable

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15
Q

Content definition

A

meaning inferred from the form and subject matter of a visual work

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16
Q

Gesture drawing definition

A

a quick, spontaneous, all-encompassing statement of form
- usually referred to when working from a living model
- builds from the inside out

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16
Q

Variations of gesture drawing

A
  • linear gesture drawing
  • continuous line gesture drawing
  • blind gesture drawing
  • mass gesture drawing (broader stick of medium used to block primary shapes)
  • tonal gesture drawing (broad planes of shadows blocked to indicated simplified light)
  • continuous movement gesture drawing (record movement through time and space)
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17
Q

Contour line drawing definition

A

line drawing which describes the edges of forms
- including both exterior and interior visible contours (sides and labels)

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18
Q

Cross-contour line drawing definition

A

line appear to go across or around an abject to indicate the turn of its form

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19
Q

Planar analysis drawing definition

A

describe the three-dimensional structure of forms in which complex curves are generalized into major planar shapes or facets

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20
Q

Tonal drawing definition

A

emphasizes contrasts in tone to describe shape, volume, texture, space or the effects of light and shadow

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21
Q

Tonal drawing techniques

A
  • hatching (use of masses strokes, roughly parallel)
  • cross-hatching (use of intersecting hatched lines)
  • stippling (use of masses dots)
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22
Q

Continuous tone drawing definition

A

drawing with smooth gradations of tone
- strokes are blended, layered, overlapped

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23
Q

Wash drawing definition

A

drawing which incorporates a wet medium

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24
Q

Medium (pl. media) definition

A

specific material used by artist
- dry and wet
- more than one -> mixed media

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25
Q

Metalpoint

A

the ancestor to the modern graphite pencil

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26
Q

Pencil grades

A

Light/Hard -> Dark/Soft
9H, 8H, 7H, 6H, 5H, 4H, 3H, 2H, H, F, HB, 2B, 3B, 4B, 5B, 6B, 7B, 8B

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27
Q

Compressed charcoal

A
  • charcoal mixed with a clay binder
  • graded like graphite
  • better than vine for lines, sharp edges, and dense blacks
  • requires fixative
  • comes in pencils and sticks
  • harder to erase
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28
Q

Vine charcoal

A
  • burnt willow without binder
  • soft, medium, hard grades
  • more easily smudged, blended, and erased than compressed
  • more brittle
  • requires fixative
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29
Q

Chalks and soft pastels

A
  • stick and pencil forms
  • blend and mix easily
  • easily smudged
  • better on rough surface
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30
Q

Crayones (wax) and oil pastels

A
  • easily blended and mixed
  • easily smudged
  • not easily erased
  • better on rough surface
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31
Q

Colored pencils

A
  • wax bloom somtimes develops in dark spots (fogging)
  • soft = verithin
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32
Q

Blending stomps and tortillions

A

pointed, rolled paper for blending

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33
Q

Chamois

A

animal hide used for lifting vine charcoal

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34
Q

Art gum eraser

A

yellowish eraser that erases soft markings, may fail to remove heavier lines

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35
Q

Plastic stick eraser

A

denser white plastic eraser that comes in a string pull or pencil

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36
Q

Pink pearl eraser

A

pink rubber eraser (can leave marks)

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37
Q

Dry cleaning pad

A

cheesecloth sack filled with powder to gently remove dirt and smudges

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38
Q

mahlstick

A

dowel used as bridge to stabilize hand from smudging

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39
Q

India ink

A

black carbon in stick and liquid form
- waterproof or non-waterproof

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40
Q

Sumi ink

A

solid block or stick, traditionally rubbed with water on ink stone

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41
Q

Bistre

A

prepared from a brown tar solution created by boiling wood soot

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42
Q

Sepia

A

prepared from a protective brownish-black fluid contained in squid sacs

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43
Q

Steel pens

A
  • wide range of separable nibs
  • nibs numbered 0 (broad) to higher numbers (narrower)
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44
Q

Speedball nibs for steel pens

A

A = flattened square shaped
B = flattened round shaped
C = chisel shaped
D = flattened oval shapped

45
Q

Bamboo reed pens

A

creates variable line and dry-brush effects
- better for short bold marks

46
Q

Bamboo brushes

A

offers greatest range of flexibility

47
Q

Brushes

A
  • Small (lower number) to large (higher numbers)
  • soft (flexible) to bristle (stiff)

Shapes:
- Rounds - round, pointed tips
- Flats - flat, squared tips
- Brights - short flats
- Filberts - flat, rounded tips

48
Q

Support definition

A

surface material upon which a drawing is made (typically paper)

49
Q

Acid-free papers

A

made of either 100% cotton rag fiber or have been chemically treated to have a neutral pH
-better because more permanent, less likely to discolor, less likely to become brittle, less likely to deteriorate

50
Q

Tooth definition (paper)

A

the texture of the paper

51
Q

Weight definition (paper)

A

thickness and density of paper
- indicated by lbs

52
Q

Ply definition (paper)

A

number of bonded layers to make up paper

53
Q

Sizing (paper)

A

diluted glue either mixed with paper pulp or applied externally to a finished sheet of paper
- inhibits paper’s absorbency

54
Q

Ground (paper)

A

coating material used to prepare a surface and to make it less absorbant

55
Q

Sketch definition

A

rapidly made freehand drawing that’s not usually made as a finished work
-emphasizes essentials

56
Q

Drawing definition

A

more finished, refined work than a sketch
- in this context -> final composition

57
Q

Doodle definition

A

an unfocused or unconscious drawing made while a person’s attention is otherwise occupied

58
Q

Gesture drawing definition

A

a drawing technique used when sketching from a live model
- attempts to capture a pose very quickly and the movement

59
Q

Format definition

A

the first and most important shape of your drawing
- since it is the shape/space you are composing within

60
Q

Drawing stages

A
  1. Use viewfinder to make thumbnail sketches
    - how you plan to organize, design or plan an image on the page
  2. Organizational line
    - choose best thumbnail
    - lightly block in version of thumbnail on scaled paper
    - focus on simplified primary shapes
  3. Correcting primary chapes with sighting and measuring
    - compare relationships of size and sizing
  4. Secondary shapes and proportions within objects
    - not the smallest details
    - develop the primary shapes
  5. Details
  6. Line quality and final presentaion
61
Q

Perceptual grid definition

A

very light vertical and horizontal lines across your drawing that correspond to what was sighted across the subject
- to check and adjust positional relationships between shapes

62
Q

Proportion definition

A

size relationship between parts of a whole

63
Q

Elements of design

A
  • line
  • shape and volume
  • value
  • texture
  • color
  • space
  • movement
64
Q

Line definition

A

a path left by a moving point
Types:
- actual = visible marks
- implied = suggested

65
Q

Shape definition

A

describes a two-dimensional area defined by visible boundaries

66
Q

Volume definition

A

three-dimensional and occupy real space
- illusion in drawing

67
Q

Positive vs negative shape

A

positive - the shapes of objects that occupy space
negative - empty space that surrounds positive shapes

68
Q

Geometric shape definition

A

shapes created by mathematical laws or measurements
- man-made shapes
- circles, squares, etc.

69
Q

Biomorphic shape definition

A

shapes based on life forms that are often curvilinear and irregular
- organic

70
Q

Anthropomorphic shape definition

A

biomorphic (organic) shapes that are based upon the human form

71
Q

Value definition

A

relative lightness or darkness of a surface
- white to black

72
Q

Value functions

A
  • expressive - underscore emotive content
  • compositional - provide a structure and to organize the surface
  • descriptive - create a convincing illusion of what was observed
73
Q

Chiaroscuro (kee-ah-roh-SCOOR-oh) definition

A

refers to the gradual blending of light and shade to create a three-dimensional illusion
- translates to “clear-obscure” or “light-dark”

74
Q

Six categories of light (think ball)

A

Top to bottom
- highlight
- light
- halftone
- shadow core
- reflected light
- cast shadow

75
Q

Value patterns

A
  1. HOW LIGHT OR DARK the value is your seeing in a particular area
  2. what are the SHAPES of each of these values
  3. what types of EDGES do these value shapes have
76
Q

Texture definition

A

the tactile quality of a surface or its representation
Types:
- physical - real texture of a surface, experienced from touch
- visual - illusion of a physical texture

77
Q

Trompe l’oeil (tromp loy) definition

A

visual texture illusion to an extreme
- translates to “trick the eye”

78
Q

Papier colle’

A

collage using torn and pasted paper

79
Q

frottage

A

rubbings are made of physical textures or reliefs

80
Q

Color definition

A

visual sensation caused by the spectural composition of light
- hue, saturation, value

81
Q

Hue definition

A

specific wavelength of light that we identify with common names
- color wheel
- ROYGBV

82
Q

Hue classifications

A
  • 3 primary = red, yellow, blue
  • 3 secondary = orange, green, violet
  • 6 tertiary = mixes of primary with adjacent secondary
  • warm = red, yellow, orange
  • cold = green, blue, violet
83
Q

Value definition

A

relative lightness or darkness of a color
- gray (tone)
- white (tint)
- black (shade)

84
Q

Saturation definition (chroma)

A

relative brightness or dullness of a color

85
Q

Subtractive mixture definition

A

any time two different pigment hues are mixed together, the result will ALWAYS be duller than the original pigment hues
- complementary colors will dull each other more than colors near each other on the color wheel

86
Q

Monochromatic scheme

A

uses only one hue, plus tints, shades, and tones
- concentrates primarly on value graduations of a color

87
Q

Analogous scheme

A

three or four hues that are next to each other on the color wheel which share a common denominator
- unity of color in a drawing
- ex. yellow, yellow-green, green (all share yellow)

88
Q

Complementary scheme

A

uses only two hues that are directly opposite one another on the color wheel
- greatest range of intensity

89
Q

Triadic scheme

A

uses three hues that are equidistant from each other on the color wheel
- ex. orange, violet, green

90
Q

Achromatic definition

A

work that uses only black, white, and gradations of gray
- without color

91
Q

Structural color

A

imitates how color is influenced by atmospheric conditions outside
- referred to as atmospheric perspective
- closer forms are darker, warmer, brighter, etc. compared to farther forms

92
Q

Glaze definition

A

a transparent layer of color applied over a form that’s been modeled in light and shade
Stages:
1. model a form monochromatically
2. apply fundamentals of structural color
- light in value and warm in hue = highlight and light areas
- medium in value and warm in hue = halftone areas
- medium in value and cold in hue = reflected light areas

93
Q

Space definition

A

in the environment, understood as area

94
Q

Volume/distance definition

A

can be measured in height, width, and depth (three-dimensional space)

95
Q

Principles of design

A
  • unity (harmony)
  • variety
  • balance
  • proportion and scale
  • dominance (emphasis)
  • movement
  • economy
96
Q

Unity/Harmony definition

A

appearance of oneness or cohesiveness in design
- uniformity of visual characteristics or through the repetition of a design element

97
Q

Rythm definition

A

repetition of accented elements in design
- aspect of design principle unity/harmony
- also an aspect of design principle movement

98
Q

Motif definition

A

a shape that dominates a design through its repetition

99
Q

Variety definition

A

appearance of dissimilarity between elements in a design
- adds interest and contrast
- can result in chaos if not counterbalanced with unity

100
Q

Balance definition

A

appearance of equilibrium in visual weight between elements in a design

101
Q

Pictorial balance types

A
  • symmetrical/formal
  • asymmetrical/informal
  • radial
102
Q

Proportion definition

A

size relationships between parts of a whole

103
Q

Types of drawings that emphasize proportions

A
  • Elevations = seen from one side on a vertical plane (outside)
  • Plans = arrangement of spaces within, seen from above horizontal plane
  • Cross sections = Vertical plane after cut has been made across it (inside)
104
Q

Scale definition

A

the ratio between the dimensions of a drawn form to those of the actual subject

105
Q

Dominance/emphasis definition

A

certain elements in a composition are given more importance while others are subordinated
- establishes order through a hierarchy between dominant and secondary elements
- moves our eye around a composition and encourages us to pause on focal points

106
Q

Movement definition

A

the organization of elements that direct the eye continuously through and around a composition

107
Q

Economy definition

A

establishes order and clarity in a design by paring it down to essential elements
- eliminating elaborate details that can cause fragmentation or confusion
- abstraction

108
Q

Ellipses definition

A

symmetrical shapes that can be divied equally by a major and minor axis
- axes always bisect each other at midpoints and are perpendicular
View:
- less foreshortened (round)
down
- foreshortened view at eye level (flat)
down
-less foreshortened (round)

109
Q

Surface patterns on cylindrical forms

A
  • horizontal lines appear to bend or hook around the circumference
  • vertical lines appear to get closer together (symmetrically) as they progress toward the sides