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| The branch of philosophy dealing with beauty and taste. |
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| 19th century European movement that emphasized aesthetic values over moral and social themes. |
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| The philosophy of art that claims that the only "true" art is divorced of any didactic, moral, or utilitarian purpose. This quote is most often credited to Theophile Gautier. |
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| Subject, form, and content. |
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| German word for "form". The philosophy that the whole is greater than the sum of it's parts. |
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| Art works that are made with physical form, existing in the three-dimensional world. Example: Sculptures |
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| Term applied to printmaking and drawing. Typically drawn on a flat surface. Two dimensional. |
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| Strict, exact, well defined lines. |
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| A line drawn with force and speed. It is given a very spirited feel and spontaneous quality. |
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| A drawn, visible, factual line in an art piece. |
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| A type of line that is created mentally, due to juxtaposition of certain points and elements in an art piece. |
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| Lines that define the boundaries of a shape. |
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| Lines often caused by people in an art piece. They often attempt to convey the thoughts of the people involved. |
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| Cross-Contour Line (Contour Hatching) |
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| Lines that help shade and define an object's form. When used as hatching, the lines cross one another, better defining the form of an object. |
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| A line that helps define form. |
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| Intersection of lines to provide shading and tone. The closer and thicker the lines, the darker the tone. |
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| Using a series of dots to define form and shading. The more dense the dots are, the darker the shaded region becomes. |
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| Intersecting horizontal and vertical lines to create the illusion of form and shading. |
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| Expressive Quality of Line |
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| Horizontal - Calmness, Flatness Vertical - Aggressive, Assertive, Defying Gravity |
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| Shape: Positive Areas and Negative Space |
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| Positive space is reserved for the subjects, whereas negative space is the "background" of the image. The part that usually pops out is the positive space, as it is most often the focus of the art piece. |
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| Volume is how much space an object occupies, whereas mass is directly proportional to the weight. Mass can also be described as the "force it requires to move the object". Mass is not equal to volume, as you can have a large object that remains ethereal, such as a hot air balloon. For graphic arts, these words are used to merely describe the appearance of objects in an art piece and may be subjective. |
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| Actual Volume and Actual Mass |
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| Terms used to describe the volume and mass of an object that exists in the three dimensional world. Mass is the difficulty in moving an object, whereas volume is the amount of space that the object occupies. |
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| Implied mass could be done by making an object appear to be constructed of a very dense material. Also, if you make and object have no openings, it lacks an ethereal quality, thereby giving it a lot of mass. Applied volume can be done by having an object of reference, or by depicting an object that is consistent in size in the real, physical world. |
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| The shape or form of an object that occupies the three dimension, physical world. |
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| Geometric and Organic Shape |
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| Geometric shapes, such as circles, rectangles, and triangles, are created and can be depicted mathematically. These shapes do not convey emotion. Organic shapes do convey emotion and have a living feel to them. |
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| Rectilinear and Curvilinear Shape |
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| Rectilinear shapes include, but are not limited to rectangles. These are objects made purely with lines. Curvilinear shapes, however, are made using curves, such as a circle or oval. |
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| A nonrepresentational form whose shape suggests a living organism. |
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| A shape with no distinct form, or certain dimensions. It is difficult to see the boundaries on amorphous shapes. |
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| Figure-Ground Relationship |
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| The distinction between what is the positive area (subject) and the negative area (background) of an art piece. Often, the Rubin vase is cited for it's famous illusion and lack of distinctness between what the figure is and what the ground is. |
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| A phenomenon that occurs when an art work has more than one interpretation of what the figure is and what the ground is. In this case, the audience will sometimes have trouble figuring out what the "true" subject is and what the "true" background is. |
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| A symbol, or relic, representing something other than it's literal meaning. In order to be an icon, it has to be widely recognized for it's meaning. |
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| A shape defined by contour lines. |
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| A shape that is completed by the viewer. |
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| Relative lightness and darkness of a color. |
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| Relative lightness and darkness on gray scale. Includes black, white, and all grays. |
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| The measurement of the difference in value. Strong contrast is created with a greater difference in value. |
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| Darker values, caused by adding black to a color. |
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| Lighter values, caused by adding white to a color. |
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| Art categorized by large differences in lightness and darkness. High contrast art works. |
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| Theater-like lighting, using exaggerated chiaroscuro. Caravaggio is most often credited for the invention of Tenebrism. |
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| Careful arrangement of all the values in an art piece, to help guide the eye through it. |
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| Values found in the natural, real world. |
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| Highlight is the lighter parts, with tint in an art piece. Shadow is the darker regions, using shades. |
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| Open and Closed Value Composition |
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| In an open value composition, the values can merge from one object to another, causing ambiguity in the separation of shapes. In closed value composition, the shapes are unambiguous, and well defined. |
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Color is the aesthetic quality of an object in reference to the light reflected off of it. It is determined by hue, saturation, and brightness.
Hue is the distinctive characteristics of a color that allow us to categorize it, i.e., blue or green. |
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| A four sided glass object that, when pure white light is shined through, echoes the visible light spectrum. |
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| All possible frequencies of electromagnetic radiation that is visible to the human eye. |
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| The relative coolness of warmness of a color. Cool colors are those closer to blue on the color wheel, whereas warm colors are those closer to red. These colors have been mentally assigned through the human experience. |
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| Color Saturation (Intensity) |
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| The intensity of a color. A color with high saturation has a very pure, vivid, dense color to it, whereas a color with no or little saturation is closer to gray scale. |
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| Chroma means color. Chromatic is the adjectival form of color. Chroma is sometimes used to describe the vividness of a color. |
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Tints are lighter colors, made by adding white to a color.
Shades are darker colors, made by adding black. |
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| One color's relative lightness or darkness. This can be used to separate similarly colored objects in an art piece. |
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| Using only one color, however different forms of this color can be used to create an art piece. |
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| A color synthesized by using minerals, animals, or plants. |
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| Additive Color Mixing System |
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| The use of RGB colors. This color system uses light and is applied to computer screens, television screens, as well as theater lighting. |
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| The color system that uses the colors RYB. Used when mixing pigments. |
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| Red, Yellow, and Blue. These are the colors of the subtractive color system. These are also colors that cannot be broken down, and can also theoretically be used to create all other colors. |
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| Colors created by mixing the same proportions of two adjacent primary colors on the color wheel. Secondary colors are opposite of primary colors on the color wheel, and bring out primary colors the most, because they lack the primary color in themselves. |
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| Created by mixing two adjacent colors on the color wheel, one of which is a primary and one secondary. |
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| The colors on the color wheel that are not primary, secondary, or tertiary. They are the in betweens. There are infinite definable analogous colors. |
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| Colors opposite of the color wheel, one of which is a primary color and one is secondary. These colors, when used together, will make the primary color "pop" off the canvas. This is due to the lack of the primary color inside the secondary color. |
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| Dulling a color by way of a vehicle or mixing a black, white, gray, or other color. This removes the intensity of a color. |
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| Art that depicts something that is easily recognizable to most people. |
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| The way we perceive, or see something. |
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| The subjective way in which we respond to a piece of artwork. |
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| Art that does not represent a specific object or thing. They are normally made to invoke emotion. |
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| Art with no recognizable figures or objects. |
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| The tactile quality of a surface. |
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| Painting style in which the paint is laid on a surface very thickly. |
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| The physical, literal, tactile feel to an art piece. |
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| Texture that is not synthesized. i.e., bark of a tree |
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| The illusion of texture without actually having it. |
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| Creative way of adding alternate materials to create an interesting texture. |
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| Texture that does not appear to match the object upon which it is found. |
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| Texture that is chosen to foil or undermine our ideas about the object depicted. |
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