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| When artists or physicists work with rays of colored light, they are using additive color. |
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| When artists work with pigment, they are working with subtractive color |
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| The primary colors are red, yellow, and blue |
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| mixing any two primary colors in equal proportions produces a secondary color |
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| Mixtures of a primary color with a neighboring secondary color. (combining yellow and green, for example, will create an intermediate color yellow-green). |
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| The twelve color, color wheel can be organized into color triads. |
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| orange, green, and violet |
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| Intermediate colors placed between each primary and secondary color |
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| The colors directly opposite each other are known as complementary colors |
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| The complement of any color |
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| Based on the triadic system-is the combination of the other two colors in its triad. For example, the complement of red (a primary color) is green - a mixture of equal parts of the remaining points of the primary triad (in this case, yellow and blue) |
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| When a color is mixed with its complement, it becomes neutralized (grayed) and a tertiary color is produced. |
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| Pigments like black, white or gray are achromatic, no color quality is found in these examples. They are called neutrals. |
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| The color name - red, yellow, blue, etc. |
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| Indicates the lightness or darkness of a color |
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| Closely related colors are called analogous colors. They are usually adjacent to each other on the color wheel. |
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| refers to the Old Stone Age |
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| Paleolithic paintings are located at: |
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| Lascaux, France and Altimira, Spain |
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| Mesolithic refers to the: |
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| New Stone Age (Stonehenge, England) |
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| The philosophical appreciation of the beautiful. Sensitivity to art or beauty. Formerly, the Philosophy of Art. |
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| A process or visual effect characterized by the simplification and/or rearrangement of an image. |
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| Dutch artist (painter) who started with images of nature including trees, and who evolved in his work to full abstraction or nonobjective or non-figurative (non-representational) painting. |
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| The Three Components of Art are: |
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| In a descriptive approach to art, subject refers to the persons or things represented. |
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| The total appearance, organization or inventive arrangement of all the visual elements in a work of art. |
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| The expression, essential meaning, significance, or aesthetic value of a work of art. Content refers to the sensory, subjective, psychological, or emotional properties we feel in a work of art, as opposed to our perception of its descriptive aspects alone. |
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| The Principles of Organization (Principles of Art) are: |
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| Harmony, Variety, Balance, Proportion, Dominance, Movement, and Economy |
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| A principle of organization in which parts of a composition are made to relate through commonality - repeated or shared characteristics, elements or visual units. |
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| Differences achieved by opposing, contrasting, changing, elaborating, or diversifying elements in a composition to add individualism and interest. |
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| A sense of equilibrium between areas of implied weight, attention, attraction , or moments of force. |
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| The comparative relationship of size between units or the parts of a whole. For example, the size of the Statue of Liberty's hand relates to the size of her head. |
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| Visual elements assume more importance than others within the same composition or design. Some features are emphasized and others are subordinated. Dominance is often created by increased contrasts through the use of isolation, placement, direction, scale, and character. |
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| Eye travel directed by visual pathways in a work of art; one of the principles of art. Movement is guided by harmonious connections areas of variety, the placement of visual weights, areas of dominance, choices in proportions, spatial devices, and so on. |
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| The distillation of the image to the basic essentials for clarity of presentation. |
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| Line, Shape, Value, Texture, and Color |
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| The path of a moving point made by a tool, instrument, or medium as it moves across an area. |
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| An area that stands out from its surroundings because of a defined or implied boundary or because of differences of value, color or texture |
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| 1. The relative degree of lightness or darkness. 2. The characteristic of color determined by its lightness or darkness. |
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| The surface character of a material that can be experienced through touch or the illusion of touch. |
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| The visual response to different wavelengths of sunlight identified as red, green, blue, etc., having the properties of hue, intensity, and value. |
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| Art that focuses on a concept or idea over materials and aesthetics |
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| A style of art that emphasizes universal characteristics rather than specific information. As a movement in Art history, it relates to painters like Honore Daumier in nineteenth-century France and Winslow Homer in the United States in the 1850's |
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| The approach to art that is essentially a description of things visually experienced. Pure naturalism would contain no personal interpretation introduced by the artist. |
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| Partly representational but simplified and rearranged. |
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| Based on a physical object but simplified and rearranged so that it appears nonobjective |
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| Nonrepresentational, started without any reference to a physical object. Based on pure design. |
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