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| long strokes, layered colors next to each other, natural outside light, influenced by light, Wild brush strokes with accurate color to portray subject matters like children, mothers, and landscapes. (Cassatt) |
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| Brighter bold colors, more emotional, more distortion, lots of brush strokes, suttle blotchiness, goal is to push previous movement further, wilder brush strokes. (Van Gogh) |
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| Loud colors, a lot of feelings and emotions, lots of people and animals, Exaggerated line color and shape to show emotion rather than accuracy often times in animals and people. (Munch) |
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| Not a distinct object, focus is on shape and color, about the basics, formalism, energetic compositions, mostly non-objective, uses automatic drawing process. (Kandinsky) |
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| Geometric shapes, disproportionate, collage-like, heavy outlines, visible shapes not strokes, analytical and synthetic, very diverse subject matter. (Picasso) |
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| Dream-like, not accurate, does not make sense, it puts things together that normally don't, Revealing the subconscious, random grouping of subject matter that doesn't make sense. (Magritte) |
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| Bright colors, pop culture, consumerism, advertising, repetition, comic book look, sculpture, bold and graphic, utilizes trendy culture for subject matter. (Roy Lichtenstein) |
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| Recreating life exactly and perfectly, no improvisation, everyday life for subject matter. (Corbert) |
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| A color that can't be made by mixing colors. |
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| What are the 3 primary colors? |
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| What do you get when you mix 2 primary colors together? |
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| What do you get when you mix 2 complimentary colors together? |
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| A neutral hue called a tone. |
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| Color that are close to each other on the color wheel....3-5 colors next to each other on the color wheel. |
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| A monochromatic color is... |
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| Tints, shades, and tones of a single hue. |
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| Brown, tan, gray, white, black are considered to be... |
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| What are the tertiary colors? |
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| Blue-violet, blue-green, yellow-green, yellow-orange, red-violet, and red-orange. |
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| When you want to make a tint of a hue you add... |
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| When you want to make a shade of a hue you add... |
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| being able to roll balls of it, can roll coils, can squeeze and manipulate it, pull forms out of it, can scratch and carve into the surface, can pull or smooth it, subtract or cut away pieces of it, can add pieces to it. |
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| Pinch, coil construction, and slab construction. |
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| Single direction marks closer together the darker the value. (CPT) |
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| Marks made with the tip of pencil... the more/closer the dots are the darker the value. (can use 2+ colors) (CPT) |
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| Multi direction marks tighter the criss-cross the darker the value. (can use 2+ colors) (CPT) |
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| Process of building up layers of color for a more interesting use of that color. (Once layered you can use the colorless blender to mix) (CPT) |
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| Patches for texture or adding depth |
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| May help with creating depth in areas of the face like nose, cheeks, etc. or just to create texture. (CPT) |
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| Using a blunt pencil, use this technique for grass, clothes, leaves, etc. (CPT) |
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| The grouping or colors and how they make other colors. |
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| The darkness or lightness of a hue. |
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| A name of a specific color. |
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| When you add white to a hue. |
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| When you mix complimentary colors together and get a browny neutral color. |
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| When you add black to a hue. |
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| 1 color with its shades, tints, and tones. |
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| 3-5 colors that are adjacent to each other on the color wheel. |
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| Black, white, and variations of gray. |
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| 2 color that are directly across from each other on the color wheel. |
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| Define a triadic color scheme |
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| 3 colors that are equidistant from each other on the color wheel. |
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| Is RGB additive or subtractive? |
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| Is RYB additive or subtractive? |
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| Is CMYK additive or subtractive? |
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| Cyan, magenta, and yellow. |
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cyan+magenta=blue
magenta+yellow=red
cyan+red=green |
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red+green=yellow
green+blue=cyan
blue+red=magenta |
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| red, orange, yellow, red-violet, red-orange, yellow-orange. |
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| green, blue, violet, yellow-green, blue-green, blue-violet. |
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| Space, form, texture, color, line, value, and shape. |
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| Proportion, variety, balance, movement, texture, contrast, and emphasis. |
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| The unoccupied or open area between, around, above the occupied area. |
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| Balance created by 2 like halves on the left and right. |
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| An area in and artwork that catches the viewers attention. |
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| A larger difference between elements (bright and dull or smooth and rough) |
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| The use of similar but different elements in an artwork that create interest. |
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| Any 3 dimensional object implied on paper or as a sculpture. |
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| Principle that refers to the arrangement in an artwork that creates the stability or instability in visual weight. |
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| The element of art referring to surface quality or the way the object would feel physically. |
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| Balance created by 2 like halves on the top and bottom. |
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| The principle the refers to creating a piece of artwork that looks as though that all parts belong as a whole; everything belongs together. |
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| The principle that refers to the size relationship between an object in reality on the size portrayed in an artwork. (scale) |
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| Balance created by circling around a center point. |
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| The principal that refers to the path that the viewers eyes take when looking at an artwork. |
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| Balance created by 2 drastically contrasting sides in any direction. |
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| Layering an even-toned wash. A transparent layer of diluted color that is brushed on. |
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| A wash that smoothly changes in value from dark to light. Generally starts dark then water is added to lighten color. |
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| Any transparent wash of color over a dry, previously painted area. Used to adjust color, value, or intensity of underlying paint. For this, paint a fairly thin layer then let dry thoroughly, paint over it with another color lightly so as not to disturb first layer. |
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| Painting wet color onto a wet surface (either wet paper or paper with wet color on it). Color applied this way usually dries without a hard edge, diffusing and spreading the wash and creating atmospheric effects. Little control of outcome usually. |
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| Textured application of paint where brush is fairly dry and the hairs of the brush, the angle of the stroke, and the papers surface texture create broken areas of paint. Used for creating textured surfaces: stone, weathered wood, foliage, lakes, bark, clouds, etc. The paint remains almost exclusively on the "hills" or high points of a textures paper. |
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| Using an absorbent material such as tissues or paper towels, or a squeezed out brush, to pick up and lighten a wet or damp wash. Can be used to lighten large areas or pick out fine details. |
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| Blocking off an area of the painting with masking tape or a masking fluid to prevent color from saturating the paper. Good for borders or precise lines. |
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| List the elements you and items you see in the artwork. |
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| Create relationships between (from step 1) what you see in the artwork. "X" vs "Y" |
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| Feldman's- Interpretation |
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| Explain why the artist chose to create relationships in the artwork. The principles of design help us explain: unity, balance, contrast, proportion, variety emphasis, and movement. |
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| State whether or not the artwork is successful and provide evidence of its success or lack of success based on the information stated in step 3. |
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| Means it is as dry as it can be without being fired, unable to work with it anymore. |
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| Dry but still has some moisture, can make small adjustments. |
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| One vanishing point, objects seem to go towards it. |
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| Two vanishing points, objects seem to go towards both. |
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| Quality of the surface; smooth, rough, bumpy, hairy, etc. |
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| Texture that has texture and you can feel the textured surface. |
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| Texture that looks like it would feel textured like bumpy or hairy but doesn't. |
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| 3 main properties; hue, value, and property |
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| Dullness or purity or intensity. |
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| Name of a specific color. |
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| Line that curves or corners around and crosses over itself it becomes a shape. There are 2 types; geometric and organic. |
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| A mark that has thickness, direction, movement, can be interrupted, and show emotion. |
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| The amount of depth in 2d and 3d artwork. |
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