ART EXAM 2-TERMS

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Author:
keulkidsally
ID:
144606
Filename:
ART EXAM 2-TERMS
Updated:
2012-03-29 13:58:09
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ART VOCAB
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Description:
Terms to be studied for Visual Arts Awareness Exam 2
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  1. TEMPERA PAINT
    paint made of egg (yolk)

    dries immediately

    mixed fresh for each session
  2. OIL PAINT
    used since the 15th century

    oil was used as a binder (linseed oil)

    Jan van Eyck
  3. ACRYLIC PAINT
    pigments suspended in a acrylic polymer resin

    about 1950

    dry quickly, easy clean up

    dry similar to oil paint
  4. WATERCOLOR
    suspend pigment in water with a sticky binder, gum arabic

    transparent

    painted on paper, white is unpainted paper
  5. GOUACHE
    pigment suspended in water with sticky binder, gum arabic

    an additive (often chalk) make this opaque

    on paper, white gouache can be used to cover areas of watercolor that become too dark
  6. PENCIL
    dry media, graphite

    degrees of hardness B softer (darker, black), H harder (light)
  7. SILVERPOINT
    dry media, silver wire set in a holder

    silver tanishes so the image becomes darker and more pronouced over time

    on wood primed with bone ash
  8. CHARCOAL
    dry media, smudges easily, soft material, strong dark value

    make something look solid rather than linear

    • vine charcoal from vine branches, soft and easily erased
    • compressed charcoal binding agent such as wax make this denser
  9. CHALK
    combining of pigment & binder

    Chalk is powdered calcium carbonate mixed with a gum arabic (a type of tree sap) binder
  10. PASTEL
    combining of pigment & binder

    pigment combined with gum arabic, wax, or oil, while crayon is pigment combined with wax
  11. CONTE CRAYON
    combining of pigment & binder

    • Conté crayon is a heavily pigmented crayon
    • sometimes manufactured with graphite
  12. INK
    wet media, permanence, precision, and strong dark color

    • carbon ink-soot, water and gum (China)
    • India- contemporary, comic books
    • iron gall ink- European from the Ren.
  13. BRUSH DRAWING
    wet media, Chinese, brush and ink

    brushes made of bamboo shaft and ox, goat, horse, or wolf hair

    solid ink ground on a stone with little water, wet the brush
  14. CONTOUR DRAWING
    register the essential qualities of three-dimensional form by rendering the outline, or contour, of an object

    • to sharpen hand–eye coordination and gain an intimate
    • understanding of form, increasing his or her sensitivity to essential detail
  15. GESTURE DRAWING
    aims to identify and react to the main visual and expressive characteristics of a form

    • artists often confront changing subjects and situations,
    • capturing the energy of the moment is the essential goal of gesture drawing
  16. CAMERA OBSCURA
    Projection of outside scene

    First drawn, then captured on light-sensitive material

    Room-sized then portable (eighteenth-century) camera obscura
  17. Daguerreotype
    a positive/negative film process of photography
  18. COLLAGE
    Both the process and the product

    Created by gluing together separate materials on a single support

    Can be made with photo-based materials, Called photocollage
  19. CONCEPTUAL ART
    idea behind the art is the most important

    often requires the viewer to complete the piece

    no permanent arkwork
  20. PERFORMANCE ART
    in front of a live audience, rarely repeated

    all kinds of actions

    ususally in an art-related venue
  21. INSTALLATION/ ENVIRONMENT
    choreographs an entire space not just a single work

    viewers can walk through

    multi-media, construction of a space or the assembly of objects to create an environment; we are encouraged to experience the work physically using all our senses, perhaps entering the work itself
  22. SCULPTURE IN THE ROUND (FREESTANDING SCULPTURE) VS. RELIEF
    • Sculpture made to be seen from many sides
    • made so that we can move around them

    • specifically designed for viewing from one side
    • protrudes from or is sunk into a surface
  23. BAS-RELIEF
    very little depth (bas-relief)


    sculptor’s marks are shallow
  24. HIGH-RELIEF
    a great deal of depth

    incise the surface more deeply
  25. SUBTRACTIVE SCULPTURE
    a sculptor uses a tool to carve, drill, chisel, chip, whittle, or saw away unwanted material
  26. ADDIVTIVE SCULPTURE
    modeling, casting, or constructing, sculptors add material to make the final artwork
  27. EARTHWORKS
    sculptures that used the surface of the Earth itself as material: this was additive sculpture on a very large scale

    collaboration of many artists and workers

    represent a harmony between nature and humanity
  28. CONSTRUCTION
    variety of methods to create and put together their components

    proliferated with the growth of standardized, engineered materials, such as sheet metals and plastics
  29. POST-AND-LINTEL CONSTRUCTION
    architect must create a span, or a distance between two supports ina structure, creating an interior space

    the lintel rests ontop of two posts
  30. SILKSCREEN
    placing a heavy coverage of ink on a wide variety of surfaces

    developed in China

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