問題一覧
1
they add to the quality of all visual stimuli
Lines
2
make objects stand out against a background, they challenge our perception, and arouse emotions, and they may enhance our lesson the aesthetic effects of our surroundings
Lines
3
they do not slant. when you lie down on a flat surface, your body forms a __
Horizontal lines
4
they are geometric hard and impersonal
Horizontal lines
5
they start from the bottom going up or vice versa. they do not lean at all.
Vertical lines
6
show strength balance and stability
Vertical lines
7
these lines are between a vertical and a horizontal line.
Diagonal lines
8
it looks as if they are either rising or falling and have both positive and negative implications
Diagonals
9
these are completed from a mixture of diagonal lines
Zigzag lines
10
the diagonals form angles and change direction suddenly. it indicate chaos conflict and confusion as can be perceived in pictures of war and pictures of most anime characters
Zigzag
11
they are organic and natural and adjust direction regularly
Curved lines
12
the outlines of the human body particularly the female form are __
curved lines
13
the artist intentionally shows the line in an artwork a painting for instance to give the viewer an interesting aspect of the composition
Actual lines
14
are used by the artist to make the viewer feel their movement in interpreting the composition by seeing and connecting lines where non actually exist
Implied lines
15
these lines seems to fade stop disappear and then reappear as a continuation or extension of an edge
Implied lines
16
most expressive element of art. it shares powerful connection with emotion
Color
17
it enhance the beauty in all things
Color
18
are a property of light
Colors
19
this pertains to the name for which the color is known
Hue
20
is determined by the wavelength of light physically given by the color. these are also the colors of the visible spectrum
Hue
21
this characteristic refers to the lightness or darkness of a color
Value
22
pertains to the absence of white or black
Value
23
when white is added to au the result is called
tint
24
when black is mixed with au the result is called
a shade
25
this characteristic refers to how pure the color is
Intensity or Saturation
26
pertains to the absence of white black or gray
pure hues
27
distinguishes between a brighter appearance of the hue from a duller one of the same hue
Intensity
28
when you combine the colors the result will be white
Additive
29
combining discolors result in black for each color in the mixture cancels out each other's brightness
Subtractive
30
was the first to conceptualize the color wheel to discover relationships between and among colors
Sir Isaac Newton
31
a circle divided equally into 12 parts representing the 12 colors and how they can relate to one another
color wheel
32
primarily based on pigments making the mixture subtractive. these colors cannot be produced by the mixture of any other colors
Primary colors
33
the combination of two primary colors in equal amounts
Secondary colors
34
a combination of a primary and secondary color
Intermediate colors
35
black white or gray do not share the same characteristics of any color in the spectrum because they show no color quality they are called
Neutrals
36
presence of all colors
White
37
the absence of color. it was observed to result when the surface absorbs all of the colors and reflects none of them
Black
38
is described as an impure white. it is created by a partial reflection of all wavelengths of color
Grey
39
colors associated with the sun and fire are considered
warm
40
colors associated with air sky earth and water are considered to be
cool colors
41
result from the coming together of lines and closing an area and separating it from its surroundings
Shape
42
a regular and precise and present in industrial feel to the viewer
Geometric shapes
43
shapes that have a natural appearance and represent objects from nature are said to be
organic
44
manifest some qualities of biological organisms
Biomorphic shapes
45
exist without any basis from either nature or geometry
Amorphous shapes
46
is a tricky element of the visual arts. it involves both the psychological capability of the visual system and the physical manipulation of the two dimensional surface to give the viewer an illusion of depth or distance
Space
47
gives the viewer a perception of death because of the distance between the two eyes
Stereoscopic vision
48
gives the viewer to images of the object then psychologically merges them into one image does giving the viewer a perception of depth or distance
Retinal disparity
49
it involves the movement of the eyes when looking at or viewing the object. it was observed that more ocular movements occur when the object is.
Kinetic vision
50
when objects are grouped not all parts of some objects will be seen. the tendency is objects that are near will be seen as complete or whole while objects that are far would be partly covered by the objects in front of them
Overlapping
51
objects that are big will be perceived as near compared with objects that are far.
Relative size and Linear perspective
52
also known as the aerial perspective.
Atmospheric perspective
53
is an element of the visual art have facilitated both the artist and the viewers
Space
54
makes viewing any artwork possible, and it is sad to say that without __ this cannot be done
Light
55
counterpart of light
shadow
56
refers to changes in the amount of reflected light from white to gray to black and from black to gray to white.
Achromatic value
57
when light falls on an object, the light rays do not shine equally on all parts of the object
Achromatic value
58
technique of using light and shadow in painting is known as
chiaroscuro
59
he exploited the effects of chiaroscuro in his masterpieces. he even introduced a technique called sfumato
Leonardo da Vinci
60
is the gradual blending of light and shadow gave the figures in his composition a more realistic form and depth
sfumato
61
exaggerated use of shadows
dark manner
62
the dark manner of painting was characterized paintings of the ____
baroque period
63
dark manner is known as
tenebrism
64
he perfected __ in his paintings
tenebrism
65
derived from the latin word weaving. it refers to the feel of the surface of woven fabrics
Texture
66
seeing texture without touching it is what is known as
visual texture
67
refers to the real feel and look of the object. this usually is a characteristic of three dimensional artworks.
Actual texture
68
refers to a surface character that looks real but is not. _ is a skill of the artist to exactly copy reality
Simulated texture
69
these artwork, because of its attention to detail, can be mistaken for real objects. the purpose of this is to fool the eye
Simulated texture
70
the artist would focus on one aspect of the real texture and emphasize it. there is no attempt to fool the eye, bakit modification of texture would enrich the whole composition
Abstract texture
71
is a product of the artist imagination. this presentation is usually seen in abstract artwork. though, solely from the artist mind, __ may still represent something that is real
Invented texture
72
can show direct actions in which movement is perceived immediately or show an intended path for the viewer to follow to achieve the effect of across the visual field.
Motions
73
the artist incorporates ___ in art known as kinetic art.
Actual movement
74
a variety of lines may be used together with some degree of repetition changes in position scale or size of the objects and varying proportions that can create the perception of movement or passing time in a two dimensional piece of static art.
Implied movement
75
this is like a credit line which lists important facts about a work of art (name of the artist, year the work is created, etc)
Semiotic
76
subject - type, kind, source, and how the artist describes the subject)
Iconic
77
the work of art may contain references and allusions direct or indirect to historical figures and events as well as the religious literary and philosophical ideas and values which are part of the meaning of the work
Contextual
78
one of the most useful composition techniques in photography is __
the rule of thirds
79
this is commonly known as the basic knowledge in composition the most photographers used when they are placing items within the frame for their masterpiece
the rule of thirds
80
refers to the visual strategies used by artists, in conjunction with the visual elements of arts for expressive purposes
Principles of Design
81
classified into three symmetrical asymmetrical and radial
Balance
82
also known as formal balance is to equal parts of the pictorial plain of an artwork plays like mirror images of each other.
Symmetrical
83
also known as informal balance where elements on either side of a composition do not reflect one another or when several smaller items on one side are balanced we are large item on the other side
Asymmetrical
84
balance where all elements radiate out from a centerpoint in a circular fashion to all four quadrants of the shapes constraining plane
Radial
85
describe a sameness the belonging of one thing with another
Harmony
86
this is the size relationship of forms and shapes.
Proportion
87
this happens when the artist creates an area of the composition that is visually dominant and commands the viewers attention. this is often achieved by contrast
Dominance/Emphasis
88
refers to a way of combining visual elements to achieve intricate and complex relationships. it is a technique used by artist who wish to increase the visual interest of their work
Variety
89
the result of using the elements of art such as they move the viewers eye around and within the image
Movement
90
this is a continuance, a flow, or a feeling of movement achieved by the repetition of regulated visual information
Rhythm
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33問 • 1年前問題一覧
1
they add to the quality of all visual stimuli
Lines
2
make objects stand out against a background, they challenge our perception, and arouse emotions, and they may enhance our lesson the aesthetic effects of our surroundings
Lines
3
they do not slant. when you lie down on a flat surface, your body forms a __
Horizontal lines
4
they are geometric hard and impersonal
Horizontal lines
5
they start from the bottom going up or vice versa. they do not lean at all.
Vertical lines
6
show strength balance and stability
Vertical lines
7
these lines are between a vertical and a horizontal line.
Diagonal lines
8
it looks as if they are either rising or falling and have both positive and negative implications
Diagonals
9
these are completed from a mixture of diagonal lines
Zigzag lines
10
the diagonals form angles and change direction suddenly. it indicate chaos conflict and confusion as can be perceived in pictures of war and pictures of most anime characters
Zigzag
11
they are organic and natural and adjust direction regularly
Curved lines
12
the outlines of the human body particularly the female form are __
curved lines
13
the artist intentionally shows the line in an artwork a painting for instance to give the viewer an interesting aspect of the composition
Actual lines
14
are used by the artist to make the viewer feel their movement in interpreting the composition by seeing and connecting lines where non actually exist
Implied lines
15
these lines seems to fade stop disappear and then reappear as a continuation or extension of an edge
Implied lines
16
most expressive element of art. it shares powerful connection with emotion
Color
17
it enhance the beauty in all things
Color
18
are a property of light
Colors
19
this pertains to the name for which the color is known
Hue
20
is determined by the wavelength of light physically given by the color. these are also the colors of the visible spectrum
Hue
21
this characteristic refers to the lightness or darkness of a color
Value
22
pertains to the absence of white or black
Value
23
when white is added to au the result is called
tint
24
when black is mixed with au the result is called
a shade
25
this characteristic refers to how pure the color is
Intensity or Saturation
26
pertains to the absence of white black or gray
pure hues
27
distinguishes between a brighter appearance of the hue from a duller one of the same hue
Intensity
28
when you combine the colors the result will be white
Additive
29
combining discolors result in black for each color in the mixture cancels out each other's brightness
Subtractive
30
was the first to conceptualize the color wheel to discover relationships between and among colors
Sir Isaac Newton
31
a circle divided equally into 12 parts representing the 12 colors and how they can relate to one another
color wheel
32
primarily based on pigments making the mixture subtractive. these colors cannot be produced by the mixture of any other colors
Primary colors
33
the combination of two primary colors in equal amounts
Secondary colors
34
a combination of a primary and secondary color
Intermediate colors
35
black white or gray do not share the same characteristics of any color in the spectrum because they show no color quality they are called
Neutrals
36
presence of all colors
White
37
the absence of color. it was observed to result when the surface absorbs all of the colors and reflects none of them
Black
38
is described as an impure white. it is created by a partial reflection of all wavelengths of color
Grey
39
colors associated with the sun and fire are considered
warm
40
colors associated with air sky earth and water are considered to be
cool colors
41
result from the coming together of lines and closing an area and separating it from its surroundings
Shape
42
a regular and precise and present in industrial feel to the viewer
Geometric shapes
43
shapes that have a natural appearance and represent objects from nature are said to be
organic
44
manifest some qualities of biological organisms
Biomorphic shapes
45
exist without any basis from either nature or geometry
Amorphous shapes
46
is a tricky element of the visual arts. it involves both the psychological capability of the visual system and the physical manipulation of the two dimensional surface to give the viewer an illusion of depth or distance
Space
47
gives the viewer a perception of death because of the distance between the two eyes
Stereoscopic vision
48
gives the viewer to images of the object then psychologically merges them into one image does giving the viewer a perception of depth or distance
Retinal disparity
49
it involves the movement of the eyes when looking at or viewing the object. it was observed that more ocular movements occur when the object is.
Kinetic vision
50
when objects are grouped not all parts of some objects will be seen. the tendency is objects that are near will be seen as complete or whole while objects that are far would be partly covered by the objects in front of them
Overlapping
51
objects that are big will be perceived as near compared with objects that are far.
Relative size and Linear perspective
52
also known as the aerial perspective.
Atmospheric perspective
53
is an element of the visual art have facilitated both the artist and the viewers
Space
54
makes viewing any artwork possible, and it is sad to say that without __ this cannot be done
Light
55
counterpart of light
shadow
56
refers to changes in the amount of reflected light from white to gray to black and from black to gray to white.
Achromatic value
57
when light falls on an object, the light rays do not shine equally on all parts of the object
Achromatic value
58
technique of using light and shadow in painting is known as
chiaroscuro
59
he exploited the effects of chiaroscuro in his masterpieces. he even introduced a technique called sfumato
Leonardo da Vinci
60
is the gradual blending of light and shadow gave the figures in his composition a more realistic form and depth
sfumato
61
exaggerated use of shadows
dark manner
62
the dark manner of painting was characterized paintings of the ____
baroque period
63
dark manner is known as
tenebrism
64
he perfected __ in his paintings
tenebrism
65
derived from the latin word weaving. it refers to the feel of the surface of woven fabrics
Texture
66
seeing texture without touching it is what is known as
visual texture
67
refers to the real feel and look of the object. this usually is a characteristic of three dimensional artworks.
Actual texture
68
refers to a surface character that looks real but is not. _ is a skill of the artist to exactly copy reality
Simulated texture
69
these artwork, because of its attention to detail, can be mistaken for real objects. the purpose of this is to fool the eye
Simulated texture
70
the artist would focus on one aspect of the real texture and emphasize it. there is no attempt to fool the eye, bakit modification of texture would enrich the whole composition
Abstract texture
71
is a product of the artist imagination. this presentation is usually seen in abstract artwork. though, solely from the artist mind, __ may still represent something that is real
Invented texture
72
can show direct actions in which movement is perceived immediately or show an intended path for the viewer to follow to achieve the effect of across the visual field.
Motions
73
the artist incorporates ___ in art known as kinetic art.
Actual movement
74
a variety of lines may be used together with some degree of repetition changes in position scale or size of the objects and varying proportions that can create the perception of movement or passing time in a two dimensional piece of static art.
Implied movement
75
this is like a credit line which lists important facts about a work of art (name of the artist, year the work is created, etc)
Semiotic
76
subject - type, kind, source, and how the artist describes the subject)
Iconic
77
the work of art may contain references and allusions direct or indirect to historical figures and events as well as the religious literary and philosophical ideas and values which are part of the meaning of the work
Contextual
78
one of the most useful composition techniques in photography is __
the rule of thirds
79
this is commonly known as the basic knowledge in composition the most photographers used when they are placing items within the frame for their masterpiece
the rule of thirds
80
refers to the visual strategies used by artists, in conjunction with the visual elements of arts for expressive purposes
Principles of Design
81
classified into three symmetrical asymmetrical and radial
Balance
82
also known as formal balance is to equal parts of the pictorial plain of an artwork plays like mirror images of each other.
Symmetrical
83
also known as informal balance where elements on either side of a composition do not reflect one another or when several smaller items on one side are balanced we are large item on the other side
Asymmetrical
84
balance where all elements radiate out from a centerpoint in a circular fashion to all four quadrants of the shapes constraining plane
Radial
85
describe a sameness the belonging of one thing with another
Harmony
86
this is the size relationship of forms and shapes.
Proportion
87
this happens when the artist creates an area of the composition that is visually dominant and commands the viewers attention. this is often achieved by contrast
Dominance/Emphasis
88
refers to a way of combining visual elements to achieve intricate and complex relationships. it is a technique used by artist who wish to increase the visual interest of their work
Variety
89
the result of using the elements of art such as they move the viewers eye around and within the image
Movement
90
this is a continuance, a flow, or a feeling of movement achieved by the repetition of regulated visual information
Rhythm