Ch5 Art appreciation

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Binder
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A material that binds substances together.
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Cartoon
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Originally, a preparatory drawing made for a fresco, usually on paper and drawn to scale with the larger work. A drawing that caricatures or satirizes an event or person of topical interest.
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Chalk
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A form of soft limestone that is easily pulverized and can be used as a drawing implement
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Charcoal
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A form of carbon produced by partially burning wood or other organic matter; it can be used as a drawing implement. like pencil has long history as a dring implement. Used by air primitive ancestors to create images on cave walls, these initially crumbly pieces of burnt wood on bone now take the form of prepared sticks that are formed by the controlled chamings of special hardwoods. varies from hard to soft
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Conte crayon
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A wax crayon with a hard texture. strictly defined, the term crayon in stick form crayon includes any drawing material in stick form similar in effect to charcoal, but are harder so used for hardening.
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Crayon
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A small stick of colored wax, chalk, or charcoal.
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Drawing
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The art of running an implement that leaves a mark over a surface. A work of art created in this manner.
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Dry media
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Drawing materials that do not involve the application of water or other liquids. Contrast with fluid media. use of graphic enabled miniaturist to achieve a richness and delicacy of treatment impossible in any other graphite
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Fluid media
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Drawing materials that involve the application of water or other liquids. Contrast with dry media.
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Graphite
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A soft black form of carbon used as a drawing implement. From a Greek word meaning to write.
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Ground
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The surface on which a two-dimensional work of art is created; a coat of liquid material applied to a support that serves as a base for drawing or painting. Also, the background in a composition. See also figure and ground.
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Gum
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A sticky substance found in many plants, and used to bind pigments in art.
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Gum arabic
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A gum obtained from the African acacia plant.
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Linear
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Determined or characterized by the use of line.
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Monochromatic
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Literally, one-colored. Descriptive of images that are executed in a single color or with so little contrast of colors as to appear essentially uniform in hue.
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Nib
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The point of a pen; the split and sharpened end of a quill pen.
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Ocher
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A dark yellow color derived from an earthy clay.
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Papyrus
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A writing surface made from the papyrus plant.
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Pastel
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A drawing implement made by grinding up coloring matter, mixing it with gum, and forming it into a crayon
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Pencil
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A rod-shaped drawing instrument with a center stick that is usually made of graphite. H’s are harder, less color… B’s less clay, sortfter,better for seketching
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Pigment
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Coloring matter that is usually mixed with water, oil, or other substances in order to make paint.
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Quill
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A pen made from a large, stiff feather.
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Sanguine
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Blood-colored, ruddy; cheerful and confident. From the Latin word meaning blood.
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Silverpoint
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A drawing medium in which a silver-tipped instrument inscribes lines on a support that has been coated with a ground or pigment.
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Stylus
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A pointed, needle like tool.pointed metal rod, similar to a metal point, but intended only to leave an impression on the surface rather than a markincolor ?
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Support
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A surface on which a two-dimensional work of art is made.
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Umber
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A kind of earth that has a yellowish or reddish-brown color.
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Wash
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A thin, watery film of paint—especially watercolor—that is applied with even, sweeping movements of the brush.
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Drawing
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basic to all visual arts, does not serve only only a utilitarian purpose, can also serve as the means to a final work of art it can be the final product.
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Surfaces
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paper was in use in China by the 2nd century AD, but it was not manufactured in Europe until the 12th century. Paper is composed of matted fibers, originally from rags but after the 18th century?…. CHINA FIRST, EUROPE SECOND
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three categories of drawing
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sketches-recording of ideas, places or preparatory studies,fully develops 2 autonomous works of art
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Plumbago
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old-fashioned term for graphite.
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Edgar Degas
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his spray doesn’t change color.
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cartone
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is paper create large sketches such as Michelangelo’s works for the sistine chapel
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True)Sepia
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entry secretion of cuttle fish smooth transparent effect
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\”untitled\”
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by cheyney thompson
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\”the raft of Medusa\”
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by theodore Gericaults. Copying permits the artist to , in a sense,retrace anothers artists steps from conception to completion.. Far from being an exercise in more duplication, the effort can lead to an understanding and feeling of from, rhythm and design
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\”Promotion for Mississippi Delta Blues festival\”
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by Gary Kelley: sensual and thythmic pastel drawing, possesses all of the detail , all of the finish of a work of art in a medium that might be considered move permanent.
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\”Promotion for mississippi delta blues festival\” by Gary KElly
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his powerful zigzag composition contributes to the sense of life and movement , as do the contrast between the harsh angularity of the male singer’s zoot suit and the simons curves of the woman who writhes in response to his music.
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\”Promotion for mississippi delta blues festival\” by Gary KElly
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The drawing was commissioned as a promotional piece for the Mississippi delta blues festival and was no doubt purposefully reminiscent of the Harlem jazzy age as depicted by 1930, African American artists such as Archibald J.Motley Jr.
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\”whirl\”
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by Carol Prusa made by Silver point, graphite, and while acrylic paint pulse across its acrylic domed surface. The bright spots of light that coalesce at the works center are emitted through pinpoint holes in the dome and illuminated from within using fiber optics.
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\”untitled\”
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by Marc Brandenburg : emulates a photographic negative in its meticulous execution and sharp tonal contrasts Artists creates a visual correlate to paparazzi’s candid photos of unsuspecting celebrities. Drawing highlights the instantly recognizable attributes of the pop star Michael Jackson, reduced to binary lights and dark’s. The convincing suggestion of another medium altogether is a consequence of the exacting detail that is possible with a tightly controlled use of pencil.
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\”study for the jester\”
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by Carol Prusa: the juxatopontion of fine cross-hatching,compact wavy and curly lines, and uick,zigzag scibbles work in tandern with the multiple perspectives that comprise the facial features in Condo’s study the jester.
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\”self portrait exaggerating my negroid features\”
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by Adrian Piper. She invites the spectator to focus on thsoe aspects of her physical genetic composition that reveal hes mixed black and white percentage. Portrait gives us an unflinching record of pipers countenance, but perhaps more important, the image challenges us to confront over prejudices about the physical differences between the races. Adrian Piper authored \”calling cards\” to hand out people whom she overhears making racist remarks.
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\”Mark\”(april)
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By Elizabeth Peytom: rendered by fine lines using colored pencils. The young man’s hair is composed of Myriad nesting lines that tightly controlled, finely modeled and realistic drawing of his face. Movement suggested in his wispy tousled lock is echoed in the sketchy rendering of his tailored suit.
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\”Self portrait\”
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by Kathe Kollwit; reveals 1 aspect of the character of the charcoal medium. Delicate lines of sharpened charcoal drawn over broader areas of subtle shading enunciate the 2 main points- that of intellect and that of skill – wins a surge of energy described by aggressive,jagged strokes overlaying the lighting sketched contour of her arm
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\”Package\”
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by Claudio Bravo:finely rendered, trompe l’oeil drawing that bears almost no trace of the artists gestures and almost no indication of the \”dusty\” quality of the media-primarily charcoal or pastel. The viewer is enticed to touch the forbidden surfaces just to test whatever they are real.
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\”studies for the Libyan Sybil\”
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by Michelangelo : used red chalk in a sketch for the Sistine chapel in which he attempted to work. out certain aspects of the figure of the Libyan Sibyl. Forte was sculpture.
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\”Head number 12\”
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by Lucas Samaras: pastel on black paper , colors pure and intense.. Cause splotches of vibrant color contrast with black paper to create glowing almost iridescent effect.
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\”Gino Severini’s Dancer\”
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pastel used to render precise drawings; clean contous and discreet shapes evoke fragmented glimplses of a dancer whirling in space.
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\”At the concert European\”
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by George Seurat by: is built up mostly solely through contrast of tone
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\”untitled hand prints\”
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by Gabriel Orozco: ink, fluid art
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\”drawing for transient rainbow\”
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by Cai Guu Ziang: Gun-power on 2 sheets of paper. Ephemeral art, a contemporary genre in which works of art are transitory, impermanent not intended to last (except by documentation.
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..Effects of charcoal, chalk and pastel as they are dragged across a surface are very similar, although the mediums differ in terms of their composition (COPY)
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Effects of charcoal, chalk and pastel as they are dragged across a surface are very similar, although the mediums differ in terms of their compostition(COPY)
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chalk and pastels consist binder such as gum arabic, shaped into workable sticks
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ocher
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derives its dark yellow tint from iron oxide in some clay
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unber
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acquires its characteristics yellowish or reddish brown color from earth containing oxides of manganese and iron
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sanguine
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POPULAR \”ORGANIC\” ON \”EARTH\” COLORS INCLUDE WHITE ,BLACK AND RED.
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PASTELS
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CONSIST OF GROUND CHALK MIXED WITH POWERED PIGMENTS AND A BINDER
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CRAYON
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INCLUDES ANY DRAWING MATERIAL IN STICK FORM. CHARCOAL, CHALK, AND PASTELS ARE CRAYONS.
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CONTE CRAYON
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ONE OF THE MOST POPULAR COMMERCIALLY MANUFACTURED GRAPHITE OR CHARCOAL MIXED WITH WAX OR CLAY CAN BE MANIPULATED TO CREATE DIFFERENT EFFECTS. ROUGH PAPER USED.
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DRAWING IS THE RESULT OF AN IMPLEMENT RUNNING OVER A SURFACE AND LEAVING SOME TRACE OF GESTURE.
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SUPPORT
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SURFACE IS USUALLY 2 DIMENSIONAL. MOST OFTEN THE SUPPORT IS MONOCHROMATIC PAPER OR PARCHMENT
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IMPLEMENTS OR MEDIUMS CAN RANGE FROM BURNED WOOD (CHARCOAL) TO BURNED PAPER, FRM BRISTLE BRUSHES DIPPED IN INK TO GUNPOWDER IGNITED BY A FUSE.
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most drawings, by virtue of the implements consist of black and tones of gray.
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some drawings are predominantly linear; others are constructed solely by tonal contrasts.
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Immitation
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said to be the sincerest form of flattery, and art world luminaries and students alike have \”Gone\” to school on\” the works of the masters
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conventional drawing material
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typically divided into 2 major groups:dry mediums and fluid mediums
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dry mediums
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used in drawing include silverpint,pencil, charcoal, chalk, pastel and wax crayon
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silverpoint
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one of the oldest drawing mediums and was used widely from the middle ages to the early 1500s. silver point drawings are created by dragging a silver-tipped implement over a surface that has been coated with a ground.
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ground
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a sort of base layer-of bone dust or chalk mixed with gum,water, and pigment. This ground is sufficiently coarse to allow small flecks of silver from the instrument to adhere to the prepared surface as it is drawn across. those bits of metal form the lines of the drawing, they are barely visible at the start but eventually oxidize, becoming tarnished or darkened. Each silver point line, a soft gray to begin with, mellous, and darkens to a grayish brown hue
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pencil
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Replaced silver point. medieval monks like ancient Egyptians ruled lines with metallic lead but pencils, consists of a thin rod of graphite encased within wood or paper.
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graphite
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composed of ground dust mixed with clay that is baked until hardened, the relative hardness or softness of a pencil’s lead depends on the quantity of clay in the mixture. the more clay the harder the pencil.
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colored pencil
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consist of wax like cores mixed with pigment and other substances surrounded, as with graphite pencils, by wood or paper, can render fine lines

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