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69 Cards in this Set
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- Back
Actual Motion |
moving sculpture that relies on wind and water for movement (nature) |
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Implied Motion |
still sculpture that represents motion Ex. Thomas Eakins used movable plates to create sense of motion in high speed |
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High-Speed motion |
Harold Edgarton (1st to take colored high speed photos) --> stroboscopic photography/ strobe light |
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Edgartown's Milk Splash |
High-speed photo of a milk drop |
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Manipulated Time |
creates the appearance of motion --> still pictures shown at a rate of 24 frames per second to create illusion of motion |
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Color |
A component of light that affects our thoughts, moods, actions, and our health |
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Important facts about color |
-color is the affect on our eyes of lightwaves of differing wavelengths or frequencies - NO COLOR WITHOUT LIGHT -White light is composed of all colors of the spectrum |
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Hue |
Another word for color |
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7 hues |
red, orange, yellow, green, blue, indigo, and violet |
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Color wheel/spectrum includes |
violet, blue-violet, blue, blue-green, green, green-yellow, yellow, yellow-orange, orange, orange-red, red, red-violet |
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RGB |
Primary colors when working with light (Red, Green, Blue) |
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CMYK |
subtractive primary colors(Cyan, Magenta, Yellow, Key (black)) |
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Analogous colors |
NEXT TO EACH OTHER (similar) on color wheel |
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Complimentary colors |
OPPOSITE of each other (not similar) on color wheel |
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Value (key) |
Relationship of blacks to whites and grays (lightness to darkness) *the lighter the colors = the higher the value |
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Intensity |
Degree of purity of a hue (also called saturation or chroma) |
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Warm colors (red, orange, yellows) |
EXPAND & ADVANCE (imply sun, heat, warmth) |
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Cold colors (blues and greens) |
CONTRACT & RECEDE (imply shade/lack of warmth) |
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Lighting |
helps to say things without giving a script |
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Flat lighting |
differences between light and shadow are minimized |
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Chiaroscuro Lighting |
differences between light and shadow are emphasized |
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Lincoln Memorial and Lighting |
bright light = fearful ... dark light = confident
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Symmetrical balance |
balancing of all like forms, mass and colors on opposing sides of vertical axis of a work of art |
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Asymmetrical balance |
accompanied by carefully placing unlike terms, creating a psychological balance around a felt or implied center |
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Texture |
tactile qualities of surfaces/or at least their visual characterization |
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Actual Textures |
felt by touching |
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Simulated (implied) textures |
created to look a specific way |
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Oppenheim's Object |
(Fur teacup) changing actual texture into a simulated one--> wanted to shock people and make them think |
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Repetition |
how the basic elements in a work of art are repeated or alternated - creates unity, consistency, flow and emphasis |
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Rhythm |
Occurs when elements of a composition have an ordered recurrence (regular/irregular) |
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Scale |
the relation of the size of one thing to another (one of the first decisions an artist makes) |
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Proportion |
size of parts to a whole / may convey symbolic meaning |
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Emphasis |
draws are attention to an area |
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Subordination |
involves creating areas of lesser interest in order to keep our eyes on the areas of emphasis |
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Contrast |
involves juxtaposing strongly dissimilar elements to produce a dramatic visual effects |
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Unity |
oneness (real or apparent) ; completeness --> joining into one |
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Giacometti's Chariot |
use of thin lines, rough texture & bronze -->man isolated on his own |
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Center of gravity |
central object of an image |
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Directional forces |
paths that the eye can follow in the form of actual or implied lines |
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focal points |
specific spots that we are drawn to |
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Hayden's: Sky's the Limit |
O'Hare Chicago terminal, implied movement using lights |
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Poussin's: Holy Family on the Steps |
Asymmetrical (lines and contrast) Left side weighs more than right |
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Orozco's Zapatistas |
Protestors (hats & diagonal lines) Shows repetition, movement and rhythm |
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Shuttlecocks |
Example of persuasion and advertising/ birdies 17th ft high outside of museum *catch interest |
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Ascender |
part of a lower case letter that extends above the x-height : b, h, l |
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Descender |
part of letter than extends below the baseline : g, p, q |
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x-height |
the height of the lowercase letters, not including the ascenders and descenders |
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Typeface |
the design of a single set of letterforms, numerals, and signs unified by consistent visual properties |
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type family |
several font designs contributing a range of style variations based upon a single typeface design -regular, italic, light, bold, book, light condensed, book condensed, ect. |
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type font
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a complete set of letterforms, numerals, and signs, in particular face, size and style. |
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type style |
modifications in a typeface that create design variety while retaining the essential visual character of the face -weight, width, angle, form |
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Measuring size of type |
12 points + 1 pica 6 picas = 1 inch 72 points = 1 inch |
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Kerning |
adjusting a letter so that it fits in the space of another letter |
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Leading |
(in metal type) is strips of lead of varying thickness (measured in points) used to increase space between lines of type |
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Letter spacing |
spatial interview between letters |
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Readability |
refers to how letters interact to compose words, sentences, and paragraphs 1. Is dependent upon how the typeface is used 2. How easily words, phrases, blocks of copy can be read |
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Readability depends on a few factors over which you have total control: |
- letter spacing (medium is best) - Leading - Case (upper and lower case is best) - Layout |
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Legibility
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refers to clarity -- how well one letter is distinguished from another 1. A function of typeface design 2. How easy it is to distinguish one letter from another in a particular type face 3. Clean, constant, uncomplicated design features make it easy to distinguish one letter from another. |
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Typography |
the design of letterforms and the arrangement of them in 2-D space (for print media) and in space and time (for digital media) - can enhance OR destroy your message - has form and shape, personality and character, texture and the power to express mood, meaning and idea |
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Serif |
the finishing strokes, or feet on a letter -help guide eye from letter to letter, making them EASIER to read |
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Sans Serif |
no hooks, more contemporary |
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Information Hierarchy |
what you look at first ... order of importance |
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General principals of graphic design and typography |
-Balance -Proportion -Movement * accomplished by line, color, shape etc. * the eye tends to favor the upper left corner in any visual field -Contrast -Unity |
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Type is.. |
-the voice of a printed page -can enhance or destroy your message - is intrinsically a visual language |
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Graphic design IS NOT |
software (photoshop) |
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Designing is: |
-communicating -concept - content -perception -history |
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Who developed movable type? |
Gutenberg DEVELOPED Pi Sheng INVENTED printing process |
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Infographics |
-history -people -uses -guidelines for effective design |
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Signal to noise ratio |
??????? |