life grawing

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Author:
powellalex22
ID:
78302
Filename:
life grawing
Updated:
2011-04-08 13:50:20
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drawing
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Description:
life drawing terms
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  1. rendering
    drawing which the subject with great representational detail using a full and subtle range of values
  2. objective desciption
    graphically recording subject matter without interpretation or expression
  3. horizontal and vertical aligment
    extending a straight edge( penicil, ruler...) toward the model in a locked vertical or hozional position as a visual guide to determine degree of angle slants and body part alignments
  4. relative proportion
    using a single unit or part of the subject matter to measure other parts
  5. foreshortening:
    depiction of organic forms in extreme perspective through size and shape distortion and careful observation of overlapping shapes
  6. mOdeling
    using value to describe subject matter in two dimensions
  7. chiaroscuro
    technique of representation that concentrates on the effects of blending the light and shade on objects to create the illusion of space or atmosphere
  8. value:
    one of the properties of color: the lightness or darkness of color; the range of lights (highlights) and darks (shadows) created by light as it falls over objects and described with tints (lightening colors) and shades (darkening colors)
  9. highlight
    the area of a represented shape that receives the greatest amount of direct light; usually perpendicular to the light source; (reflected light is light bounced back from a surface to a shaded side of an object; it lies on the -surface of the object opposite the light source and is not as strong as the highlight)
  10. mid tone:
    mid value on a full range value scale
  11. base tone
    lowest (darkest) value on a value scale
  12. quarter tone
    value between mid tone and highlight, or mid tone and base tone on a value scale
  13. cast shadow
    • darker value cast upon the surface behind or beyond an object which is blocking the light source on the object's opposite side
    • 1. cast shadows follow the form of the surface they are cast upon 2. cast shadows are darker and more acute the closer they are to the object that
    • casts them;them grow lighterand-more diffuseas they move away from~the object
  14. core of shadow
    the darkest value on a modeled form; (this is different from the cast shadow which does not lay on the form itself but is thrown onto another surface)
  15. gesture
    an indication of form, posture and/or potential movement; gestures drawing allow the artist to a) warm up and focus; b) connect with the subject as well as disconnect from distractions; c) block out the form of the subject rapidly so that proportions and posturings can be evaluated and adjusted before much time has been invested in the drawing; d) gather information in an economic and efficient way; and e) increase sensitivity to mark making
  16. subjective expression
    alteration of characteristics of sUbject matter in an interpretive manner that represents a feeling, idea or attitude of the artist
  17. non-objective
    representing no actual object
  18. brain storming strategies
    ctivities such as list making, word-association games and image searches that provoke new perspectives
  19. thumbnails
    mall, quick preliminary sketches used to work out ideas for sUbject matter, content, and composition
  20. atmospheric perspective (aerial)
    • creates the illusion of space by the use of the following principles:
    • *close objects are more focused, show more detail and color/value contrast
    • "'far objects lose focus and colorlvalue contrast, lose detail and become closer i n .value to the background as they appear to recede in space
    • *objects diminish in size as they recede in space *objects overlap to imply space
  21. linear perspective
    • a mechanical system for creating the illusion of 3-0 space on a 2-D surface; usually applied to man-made structures containing parallel sides (roads, sidewalks etc... ) and/or right angled corners with perpendicular planes (buildings, boxes ... ); a
    • false construct based on the idea of an eternal visual fiefd represented by a vanishing point where parallel lines converge
  22. ground
    position of implied space on the picture plane: foreground (closest to viewer); mid-ground (between the foreground and background); background (farthest distance or space surrounding subject matter in shallow space)
  23. figure/ground relationship
    the relationship between the positive elements and the negative areas in a composition
  24. conte crayon
    a hard, dense drawing stick manufactured in France; not a charcoal; creates wide range of values and allows the artist a large measure of contro
  25. ompressed charcoal
    a "re-baked" charcoal stick of burnt wood and binders and extenders; softer than conte which affords the artist faster coverage but less control
  26. vine charcoal
    unprocessed burnt wood; fugitive, light marks ideal for subtle images but difficult to control
  27. rag content
    amount of cotton fiber in a sheet of paper; the higher the rag content, the more durable and flexible in regards to media manipulation, and higher archival stability
  28. paper tooth
    describes the surface texture of a sheet of paper:JHGt press papers have a hard smooth finish; cold press, rough, and extra rough have increasing textures, respectively
  29. paper weight:
    is determined by a ream (500 sheets) of a particular sized paper; the heavier the weight the more strength, durability, and dimensional stability
  30. graphite grades
    number and letter system that indicates the density and hardness of drawing pencils; for example, a 68 is softer and makes a larger, darker mark thana 2H
  31. form:
    he totality of a work of art - how it looks - the sum of the basic art elements
  32. subject matter
    matter presented for study by the artist; the visual elements or objects which the artist represents in a work
  33. content
    the concept that the artist wishes to express;the meaning in the work of art
  34. composition
    the organization or arrangement of the elements of art in a given work; each element used may have intrinsic characteristics that create interest, but functioning such a way that the whole is more important than the parts
  35. formal concerns
    the basic means of visual organization (composition, value structure etc. . .)
  36. basic art elements
    line, shape, value, texture, and space (which all together make up form); the "parts of speech" that a visual artists manipulates in an object or image
  37. positive shape
    shape of subject matter or objects in an image
  38. negative space/shape
    shape of the space surrounding a positive shape, sometimes referred to as background
  39. principles of organization
    physical relationships of elements such as balance, rhythm, domination, harmony etc. that have psychological and intrinsic effects, which when used in certain combinations have a stronger and richer impact on the viewer
  40. focal point
    emphasis; area of a work which commands the most visual attention
  41. contrast
    the difference between light and dark; higher contrast is created by extreme distances between value range, lower contrast is created by less distance
  42. . high key value range
    value structure in the highlight to mid tone range
  43. .low key value range
    value structure in the mid tone to base tone range
  44. achromatic:
    absence of hue or color
  45. monochromatic and polychromatic
    use of the value range of a single hue and of many hues, respectively
  46. curvilinear
    implies arcs and curves by means of line, as opposed to geometric
  47. blomorphic
    resembling or suggesting living organisms
  48. size hierarchy
    size variations symbolic of rank of order as opposed to naturalism
  49. narrative
    representing an event or story (also, implied narrative)
  50. Intentional fallacy
    an artist's misjudgment of the meaning of herlhis image or object resulting in a large audiences' misread of the artist's intended meaning
  51. Waterleaf
    A paper with little or no sizing,like a blotter,making it very absorbent.
  52. Mould-madePaper
    A sheet of paper that simulates ahandmade sheet in look,but is made by a slowly rotating machine called a cylinder-mould. No mould-made paper is made in the U.S.

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