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| Surface quality of a work |
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| helps to define spatial relationships |
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| A form that is a solid that occupies a 3-D volume(height, width, depth) |
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| flat, 2-D area with boundaries that can be measured in terms of height and width |
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| one of the most fundamental elements of art |
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| In film, the sequencing of widely disparate images to create a fast-paced, multifaceted visual impression |
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| Painting with thousands of tiny, dots, or points, of pure color |
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| Balance, emphasis, proportion and scale, rhythm and repetition, unity and variety |
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| refers to the even distribution of weight in a composition |
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| used in order to draw the viewer's attention to one area of work |
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| refers to the relationship between the parts of an object and the whole, or to the relationship between an object and its surroundings. |
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| word used to describe the dimensions of an art object in relation to the objects around it. |
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| an effect achieved when shapes, colors, or a regular pattern of any kind is repeated over and over again. |
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| different lines, forms ,colors, textures made to work together |
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| Any work of art that seeks to resemble the world of natural appearance |
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| a work that does not refer to the natural orobjective world at all |
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| In art, the rendering of images and objects in a stylized or simplified way, so that though they remain recognizable, their formal or expressive aspects are emphasized |
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| The literal, visible image in a work of art, as distinguished from its content, which includes the connotative, symbolic, and suggestive aspects of the image. |
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| murky, a heightened form of chiaroscuro |
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| Line, Color and Value and Light, Texture, Space, Time and Motion |
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| a technique, often employed in landscape painting, designed to suggest 3-D space in the 2-D space of the picture plane, and in which forms and objects distant from the viewer become less distinct, often bluer or cooler in color, and contrast among the various distant elements is greatly reduced. |
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| In a medium, the substance that holds pigments together. |
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| The hues that in theory, cannot be created from a mixture of other hues and from which all other hues are created ( in pigment, red,yellow, and blue) |
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| Hues created by combining two primary colors (orange, green, and violet) |
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| the organization of the formal elements in a work of art |
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| The disposition of the human figure in which the hips and legs are turned in opposition to the shoulders and chest, creating counter-positioning of the body. |
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| One of the earliest forms of photography, made on a copper plate polished with silver. |
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| the modification of perspective to decrease distortion resulting from the apparent visual contraction of an object or figure as it extends backward from the picture plane at an angle approaching the perpendicular |
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| the literal shape and mass of an object or figure or more generally the materials used to make a work of art, the ways in which these materials are used in terms of the formal elements and the composition that results. |
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| the study or description of images and symbols |
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| One -point linear Perspective |
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| Lines are drawn on the picture plane in such a way as to represent parallel lines receding to single point on the viewer's horizon
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| Two-point linear Perspective |
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| When there are two vanishing points in a compostion |
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| Any material used to create a work of art or in painting, a liquid added to paint that makes it easier to manipulate. |
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| "word" or "discourse" about art |
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| one of the most common tools used in drawing in the late-fifteenth and early-sixteenth century Italy |
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| descriptive representation of the thing, seen through an outline or contour drawing |
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| graphite enclosed in a cylinder of soft wood |
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| substitute for imported pencils |
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| chalk medium with colored pigment and a non-greasy binder added |
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| consists of a pigment which is the coloring agent, and a binder which holds the pigment together |
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| a single impression or example of an image that has been transferred through pressure onto paper from a matrix |
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| surface upon which the design has been created |
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| multiple impressions made on paper from the same matrix |
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| can be distinguished from a reproductive print in that the original artist created it and that it has been the artist or under the artist's supervision |
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| trial impressions made before the final edition is run- for personal use |
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| printmaking process in which the image to be printed is raised off the background in reverse. |
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| brushing the surface with an astringent crystalline substance called alum that reduces the absorbency of the paper so that ink will not run along its fibers |
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| "whiteline" technique in which the fine, narrow grooves cut into the block do not hold ink |
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| similar to a woodcut, except ,with block is made of linoleum instead of wood |
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| in woodcut, color can also be added to a linocut print by creating a series of different blocks, one for each different color, each of which has been aligned. |
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| the areas to be printed are below the surface of the plate |
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| instead of lines, dots are employed in greater and greater density the deeper and darker the shadow |
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| accomplished by pushing a small V-shaped metal rod across a metal plate, usually of copper or zinc, forcing the metal up in slivers in front of the line |
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| much more fluid and free process than engraving and is capable of capturing something of the same sense of immediacy as the sketch |
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| acid-resistant substance, paint like material that make the support surface smoother or more uniform in texture |
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| a form of intaglio that is scratched into copper plate with a metal point that is pulled across the surface, not pushed as in engraving |
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| intaglio process in which the plate is first ground all over using a sharp curved tool, leaving a burr over the entire surface that if inked, would result in a solid black print |
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| relies for its effect not on line, but rather on tonal areas of light and dark |
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| planographic print -making process |
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| formally known as serigraphs in which no expensive, heavy machinery is needed to make a serigraph |
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| use both a plate and a press in the making of an image, once it is printed, it can never be printed again |
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| surface on which the artist paints |
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| thinner that enables the paint to flow more readily and that also cleans brushes |
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| one of the oldest painting media ,made by combining pigment with a binder of hot wax |
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| preferred medium for wall painting for centuries in which pigment is mixed with limewater and then applied to a lime plaster wall that is either still wet or hardened and dry. |
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| medium made by combining water, pigment, and some gummy material, usually egg yolk |
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| its ability to teach, to elevate the mind |
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| can be blended on the painting surface to create a continuous scale of tones and hues |
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| one of the most expressive of painting media made by applying pigments suspended in a solution of water and gum arabic to dampened paper |
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| watercolor mixed with chinese white chalk |
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| materials used to make plastic mixed with turpentine |
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| purposefully combined various media |
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| process of pasting or gluing fragments of printed matter, fabric, natural material-anything that is relatively flat-onto the two-dimensional surface of a canvas or panel |
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| pigment is mixed with lime water and applied to a wet plaster wall |
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| pigment is applied to a dry wall |
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| process for fixing negative images on paper coated with light-sensitive chemicals |
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| in a darkened room, poured liquid collodion made of pyroxyline dissolved in alcohol or then over a glass plate bathed in a solution of silver nitrate which then had to be prepared, exposed and developed all within 15 minutes and while still wet. |
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| framework for understanding exposures and development and visualizing their effect in advance |
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| size of the opening of the lens |
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| process of arranging the sequences of a film after is has been shot in its entirety |
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| a continuous sequence of film frames |
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| shows the actor from head to toe |
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| the frame slowly opens in a widening circle as a scene begins or slowly blacks out in a shrinking circle to end a scene |
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| panoramic vista in which the camera moves across the scene from one side to the other |
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| camera moves back to front or front to back |
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| the editor cuts to narrative episodes that are supposed to have taken place before the start of the film |
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| editor moves back and forth between two separate events in ever-shorter sequences, the rhythm of shots becoming furiously paced |
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| panels of rough sketches outlining the shot sequences- for each of the movie's scenes |
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| any sculpture that extends from the plane behind it less than 180 degrees |
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| project forward from their base by at least half their depth and often several elements will be fully in the round |
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| meant to be seen from all sides and the viewer must move around it |
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| sculptural space into which you can physically enter either indoors or out-of-doors |
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| sculptural space into which you can enter indoors |
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| sculptural space into which you can physically enter out-of-doors |
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| baking ceramics at temperatures normally ranging between 1200 to 2700 degrees fahrenheit |
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| oven designed especially for firing |
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| lost-wax process/cire-perdue |
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| one of the most complicated processes for casting metal perfected by the Greeks |
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| a mixture of water, plaster, and powder made from ground-up pottery |
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| assemblages of events performed or perceived in more than one time and place |
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| many so-called "craft" media-ceramics, glass, fiber, metal, and wood in particular |
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| clay is rolled out flat, rather like a pie crust, and then shaped by hand |
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| made of porous clay and fired at low temperatures and must be glazed if it is to hold liquid |
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| impermeable to water because it is fired at high temperatures and it is commonly used for dinnerware today |
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| fired at the highest temperatures of all, is a smooth-textured clay that becomes virtually translucent and extremely glossy in finish during firing |
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| a technique for constructing fabrics by means of interlacing horizontal and vertical threads |
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| fiber art that is made by needlework |
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| design was realized by hammering the image from the reverse side |
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| more the representation resembles what the eye sees |
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| when a painting is so realistic that it appears to be a photograph |
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| if it captured an immensity so large that it could hardly be comprehended by the imagination |
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| brand of representation in which the artist retains apparently realistic elements |
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| represent something more than their literal meaning |
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| is indicated by a 3-D form |
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| a shape can be indicated by this mean |
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| figure that commands attention |
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| empty space that acquires a sense of volume and form by means of the outline or frame that surrounds them |
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| parallel lines receding to a single point on the viewer's horizon |
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| where the viewer is positioned |
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| when the vanishing point is directly across from the vantage point, where the viewer is positioned the recession is this |
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| if the vanishing point is to one side or the other, the recession is this |
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| system other than linear perspective used in Japanese art as a way of projecting space |
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| means of projecting space used by architects and engineers |
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| to render the effects of light |
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| use of chiaroscuro to represent light falling across a curved or rounded surface |
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| directly reflects the light source indicated by white and the various degrees of shadow , noted by darker and darker areas of black |
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