A World Of Art Ch. 4-6 – Flashcards
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a mark left by a moving point, actual or implied, and varying in direction, thickness, and density
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line
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the edge of a shape of figure depicted by an actual line drawn of painted on the surface
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outline
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the perceived line that marks the border of an object in space. Describing dimension by overlap
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contour line
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a line created by movement or direction, such as the line established by a pointed finger, the direction of a glance, of a body moving through space.
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implied line
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empty space surrounded and shaped so that it acquires a sense of form or volume
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negative shape
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the figure that commands our attention
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positive shape
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a version of linear perspective In which there is only one vanishing point
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One point linear perspective
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the point on the horizon line where parallel lines converge.
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vanishing point
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the point where the viewer is positioned
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vantage point
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when lines recede to a vanishing point across from the vantage point
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frontal recession
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when the lines recede to a vanishing pint to the right or left of the vantage point
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diagonal recession
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a version of linear perspective when there are two vanishing points on the horizon line
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two point perspective
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a system for projecting space, commonly found in Japanese art, in which the front of the object of building is parallel to the picture plane, and the sides, receding at an angle, remain parallel to each other rather than converging.
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oblique projection
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a technique for depicting space in which all lines remain parallel rather than receding to a common vanishing point
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axonometric projection
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modification of perspective to decrease distortion resulting from the apparent visual contraction of an object or figure as it extends backwards from the picture plane at an angle approaching the perpendicular
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foreshortening
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a technique, often employed in landscape painting, designed to suggest three-dimensional space of the picture plane, and in which forms and objects distant from the Inset become less distinct, often bluer and cooler in color, and contrast among the various distant elements is reduced
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Atmospheric/(aerial) perspective
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the use or light and dark to create the effect of 3D modeled surfaces
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Chiaroscuro
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A heightened form of chiaroscuro
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tenebrism
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An area of closely spaced parallel lines to create the effect of shading or modeling
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hatching
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Two or more sets of roughly parallel lines and overlapping lines, set at an angle to one another, in order to create a sense of three-dimensional modeled space
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cross-hatching
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A color or hue modified by the addition of another color, resulting in a hue of a darker value
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shade
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A color or hue modified by the addition of another color, resulting in a hue of a lighter value
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tint
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directly reflect the light source, indicated by white
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highlights
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unlighted surface of a form rendered by modeling or chiaroscuro
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shadow
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the darkest area on the object itself
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core of the shadow
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the darkest are of all
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cast shadow
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the three hues that cannot be created from a mixture of other hues (red, blue, yellow)
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primary colors
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hues created by combining two primary colors (orange, green, violet)
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secondary colors
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hues created when combining one primary and one secondary color
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intermediate colors
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when different hues are combined, the mixture is duller and closer to black
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subtractive process
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when different hues are combined, the mixture is bright and closer to white
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additive process
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a color
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hue
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reltive purity of a color's hue, a function of its relative brightness or dullness
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intensity/saturation
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a liquid that makes paint easier to manipulate
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medium
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schemes composed of hues that neighbor eachother on the color wheel
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analogous color
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relative warmth or coolness of a given hue
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temperature
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schemes that employ hues that lie on opposite sides of the color wheel
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complementary color
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the more intense, brighter effect after placing complementary colors together without mixing
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simultaneous contrast
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the actual hue of something, independent of the ways in which colors might be mixed or how different conditions of light and atmosphere might affect color
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local color
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colors as perceived by the eye
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perceptual color
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painting done outside rather than studio
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plein-air painting
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color that has no realistic or natural relation to the object that is depicted but may have emotional or exprssive significance
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arbitrary color
