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| WHEN SOMEONE JUDGES ARTIST' WORK AND CHOOSES ONE, THEY THEN CREATE AND SUBMIT A MODEL |
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| WHAT HELPS AN ARTIST, VISUAL CUES THAT HELP IDENTIFY ART |
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| ART THAT DOESN'T REPRESENT ANYTHING |
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| PRESENT VISIBLE WORLD, HAS MEANING |
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| EITHER SIMPLIFY OR EXAGGERATES ART |
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| COLORS, SHAPES, LINES CAN BE USED TO DESCRIBE |
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| THREE TYPES OF STYLES IN ART |
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ARTIST'S INDIVIDUAL WORK
GROUP OF ARTISTS AND TIME PERIOD |
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| ENVIRONMENTAL INFLUENCES ON THE ARTIST |
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| WHAT ARE THE VISUAL ELEMENTS |
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| LINE, SHAPE, MASS, LIGHT, COLOR, TEXTURE, SPACE |
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| PATH OF A MOVING POINT AND DIRECTION |
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| WHERE THE ART IS HEADING TO, DIAGONALS SHOW GREAT MOVEMENTS |
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3-D FORM, LIGHT AND SHADOW DEFINE IT
LIGHT IS CLOSER, SHADOW IS FURTHER AWAY |
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| POSITIVE SHAPE THAT MOVES TOWARD YOU |
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| NEGATIVE SHAPE THAT MOVES AWAY FROM YOU |
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| UTILIZED IN PAINTING ONLY (LIGHT & DARK) TO CREATE DEPT |
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LIGHT BROKEN FROM A GLASS, SHOWS A RAINBOW
IT'S HOW LIGHT IS BROKEN TO OUR EYES |
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PHYSICAL TYPE OF PAINT
THE MORE YOU ADD, THE DARKER THE COLOR GETS |
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| ARTISTS LAY MAJOR COLORS THAT DISPLAY AN IMAGE, LITTLE DOTS THAT FILL UP A PAGE |
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| SOMETHING YOU CAN TOUCH, (ROUGH, SMOOTH, HARD, SOFT) |
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| APPEARANCE OF TEXTURE/ SURFACE QUALITY |
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| PARALLEL LINES SEEM TO CONVERGE AT THE VANISHING POINT ALONG THE HORIZON, USUALLY IN ARCHITECTURE |
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| OBJECT THAT'S PERPENDICULAR TO THE PICTURE PLANE THAT IS FORESHORTENED TO LOOK CORRECT |
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| OBJECT FURTHER AWAY FROM YOU IS SMALLER AND LESS CLEAR |
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| ARTIST MAKES YOU FOCUS ON SOMETHING THEN LOOK AROUND |
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| PERSON THAT'S MOST IMPORTANT IS THE LARGEST |
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| IDEAS FORM, MODEL WHAT YOU'RE GOING TO DO BEFORE THE FINAL WORK |
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| USING TOOL AND LEAVING LINES BEHIND |
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| FEW AREAS OF WHITE, DIFFERENT APPROACH AND DARKER SHADES |
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PIECE OF WOOD, PIECE OF METAL USED ON LAYERED PIECE OF PAPER
DETAIL IS DARKER |
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| BLUR EFFECT, SOFTER MATERIAL |
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| WATERCOLORS AND WHITE PIGMENT |
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PAINTS FROM SYNTHETIC PLASTIC RESIN
DRIES TO WATER PROOF
DRIES QUICKLY, PERMANENTLY |
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| CARVE INTO A PIECE OF METAL AND INK IT |
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SOFTER PIECE OF METAL, USE DRYPOINT NEEDLE
SIMILAR TO ENGRAVING
USE COPPER PLATE DRAWING IS SOFTER |
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| HOLDS THE WALLS UP AND PROTECTS INSIDE |
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| LOAD BEARING CONSTRUCTION |
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STACKING UP THINGS ON TOP OF EACH OTHER
BASE HAS TO BE STRONGER |
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TWO POSTS AND CROSSING PIECE
TENSILE STRENGTH |
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ARCH AND VAULT
CREATION OF ARCH AND USE OF CEMENT TO MAKE STRONGER |
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| SPIDERWEBS THAT HOLD THE INSIDE CEILING |
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| LITTLE SUPPORT SYSTEMS THAT SUPPORT THE OUTSIDE |
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| BUILDING AT A DIFFERENT PLACE, PUT TOGETHER LIKE A PUZZLE AT THE MAIN SITE |
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| STEEL RODS AND LIQUID CEMENT |
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| COPPER PLATE WITH CHEMICALS MUST BE EXPOSED FOR A LONG TIME |
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| 3-D ON 2-D PAPER, IMPLIED SPACE |
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| PIGMENT MIXED WITH WAX OR RESIN |
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| UPRIGHT POST CAME FROM EGYPTIANS AND GREEKS |
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| SKELETON FRAME PROTECTIONS |
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| PIGMENT AND WATER AND APPLIED TO WET PLASTER, THEN YOU PUT ON WALLS AND CEILINGS |
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| ART, PHOTO JOURNALISM, PORTRAITS, LANDSCAPE |
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| NAME OF THE COLOR, VALUE & INTENSITY |
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| ROMANS ARE KNOWN FOR CREATION OF |
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| CEMENT AND CREATION OF ARCH |
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| TWO WAYS TO APPLY LIQUID MEDIA |
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| THE ENVIRONMENTAL INFLUENCE ON THE ARTIST |
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| USING LIGHT AND DARK TO CREATE DEPT |
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| INDIVIDUAL UNITS THAT ARTISTS START WITH TO CREATE CONTENT |
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| SUBTRACTIVE BLOCK OF SOMETHING THAT YOU BEAT UNTIL IT FALLS OFF, AGGRESSIVE METHOD |
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| ARCH SPINNED 360 DEGREES AND FORMS A ROOF |
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| PENCIL, CHARCOAL, METAL POINT, CHALK, CRAYON |
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| THREE THINGS YOU CAN MAKE WITH STEEL IN ARCHITECTURE |
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| FRAME, CABLES, REINFORCE CONCRETE |
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REPETITIVE CHARACTERISTICS THAT SUMMARIZES AN ARTIST' WORK
-ARTISTIC
-GROUP OF ARTIST
-TIME PERIOD |
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| MAKE SCULPTURE OUT OF CLAY, PUT WAX ON IT, PUT IT IN CAST, POUR IN LIQUID METAL, LET COOL, REMOVE CAST, SAND ROUGH SPOTS |
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| STONE, DRAW WITH GREASE PENCIL DIPPED IN ACID, INK STICKS TO GREASE |
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PIGMENT COMBINED WITH LINSEED OIL
USE WOOD AND PLACED ON CANVAS |
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