2.  Natural Environment : those things which man did not make…trees, grass, animals, people (yes people, although people reproduce, people did not design or manufacture people)  Manufactured Environment : buildings, streets, street lights, art work

3.  They evaluate the art:  They give both positive and negative judgments.  They explain the social value  They evaluate the art involved  They evaluate the appropriateness of the work toward the audience intended.

4.  The book gave the criteria: pre 1940 and post 1940. It asked you to make two columns or lists. Then place each work of art under the appropriate list:  Examples: Pre 1940Post 1940 Cassatt Warhol UtamaroHudson

5.  What three ways that line can be applied?  Outline:  Implied line  Contour line  Hatching/crosshatching-shading  Value/color  Expressive lines  Personality  Shape  movement

6.  Describe: the What: What is the subject matter, what are the elements and principles and where are they being used  Analyze: How is the subject matter and elements and principles being used. How do the elements and principles work together to form the whole.  Interpret: What is the work telling you, what mood do you experience, what elements and principles cause this…  Judgment: do you think the artist got a or his point across. Would you purchase the work, why or why not.

7.  When given two works of art to compare, start with the critiquing process of each painting  Then compare how and where the elements are being used. Discuss the elements as they are used to enhance the subject matter.  Then compare how they make you feel. Use the elements and principles to defend this choice.  Then make a judgment as to which work you relate or understand better and explain its meaning to you and if you had to choose, which one would you choose and why.

8.  The basic visual symbols in the language of ART—What the artist uses to create an artwork.  Line  shape and form  Space  Color  Value  Texture

9. An element of art that is used to define space, contours, and outlines or suggest mass and volume. It may be a continuous mark made on a surface with a pointed tool or implied by the edges of shapes and forms

10.  Vertical  Horizontal  Diagonal  Curved  Zigzag  Implied  disappearing

11.  Length-short to long  Width-thin or fat  Texture-rough or smooth  Direction-north, south, east, west, up or down  Degree of curve-gradual to sharp

12.  An element of art. An enclosed space defined by other elements such as line, color, and texture.  2-dimensional  Geometric-man made  Circle, rectangle, square, oval, triangle, etc…  Free-Form-nature made  Irregular, uneven  Silhouettes of living things  Animals, people, trees, leaves  Often occur in nature

13.  3-Dimensional objects  Spheres  Cubes  Cones  Pyramids  Free-form examples- clouds-tree trunks

14.  An element of art that indicates areas between, around, above, below or within something.  Either positive or negative  Positive  The objects  Negative the air around the objects the sky and ground

15. An element of art with three properties: hue, value and intensity. Also, the character of surfaces created by the response of vision on wavelengths of reflected light

16. Color Theory: Primary Colors red, blue, yellow Secondary Colors The mixing of two primary colors Orange-red + yellow Green-blue + yellow Purple/violet-red + blue Intermediate Colors The mixing of a primary with a secondary color Red-orange Blue-green Yellow-green Blue-violet Red-violet Neutral Colors Black, white, gray, and brown -

17. Tints Lightened colors White with pure colors added Shades: darkened color color with black added

18. Monochromatic  One color and its values Complementary color  Colors opposite the color wheel Analogous  3 – 5 colors side by side to each other on the color wheel. Warm  Yellows, oranges and reds

19. Cool Blues and greens Color Triad Three colors equally apart on the color wheel, Primaries, secondary's, intermediates Split Complementary Variation of complementary-one color and two colors on both sides of its complementary color Neutrals Gray, white, black, and brown

20.  The rules that govern how the artist organize the elements of art:  These principle communicate the artist intent or meaning  Rhythm  Movement  Balance  Proportion  Variety  Emphasis  Harmon y  Unity

21.  Movement by the repetition of the elements  Visual rhythm-received through the eyes  Caused by repeating positive shapes separated by negative spaces  Random Rhythm-no apparent order  Regular Rhythm-a set pattern-beat-measurements  Alternating-two motifs in a checkered board style  Flowing-repeating of wavy lines like the ocean or hair  Progressive-a motive changes in some manner each time it is repeated

22.  The principle of art used to create a look and feel of action and to guide the viewer’s eye through a work of art.  Example: photograph of a moving car  A runner

23.  The principle of design referring to the arrangement of the visual elements to create stability in an art work.  Four types of balance  Asymmetrical  Symmetrical  Approximate symmetrical  radial

24. Symmetry (Mirror Images) Formal -a balance arrangement in which the parts of a composition are organized so that one side duplicates or mirrors the other Asymmetrical (balanced by weights of elements or objects) Informal -the feeling of balance attained when the visual units on either side of a vertical axis are actually different but are placed in the composition to create a “felt” balance of the total artwork.

25.  Radial balance-a balance arrangements that results from the repetitive placement of elements radiating out from a central point  Approximate symmetry-the use of forms that are similar yet different, on either side of a vertical axis

26. A design principle reflecting the size relationship of parts to one another and to a whole

27. A principle of designed concerned with the illusion of differences in the elements of composition to offset unity and add interest to an artwork.

28.  A principle of art that makes one part of the art dominate over the other parts  Controls the amount of attention a viewer gives to each part  An element can dominate the entire work  An area can dominate the work

29. The principle of design that creates unity by stressing the similarities of separate but equal parts: A condition in which the elements of an artrwork appear to fit well together

30. A principle of design related to the sense of wholeness that results from the successful combination of the component elements of an artwork.

31.  Line  Value  Aesthetics  outline

32. an element of art concerned with the lightness and darkness of colors. Darker colors are lower in value

33. Creating a design or art work for the sheer enjoyment of it. It could have absolutely no functional purpose.

34. Lines with little variation that describe the outer edges of shapes that appear flat.

35. An element that indicates areas between, around, above, below, or within something

36. Implied lines suggested by the direction in which figures in a picture are looking, or from the observer’s eye to the object being looked at.

37. Lines that are indicated indirectly in artworks at edges where two shapes meet, where a form ends and the space around it begins, or by positioning several objects or figures in a row.

38.  The property of color that distinguishes one gradation form another and gives it its name.

39. Shading using closely spaced, parallel lines; used to suggest light and shadow and/or give the appearance of grays in a black and white drawing.

40. Shading created by crossed parallel lines.

41. An object or performance that satisfies conditions or requirements recognized by the art world as necessary for an artwork.

42. Produced or intended primarily for aesthetic purposes rather than utility. Any of the art forms, such as sculpture, painting, music, or theater

43. The experience of perceiving and enjoying something for its beauty and enjoying something for its own sake, for its beauty and pleasurable qualities

44. The tendency to complete partial forms or shapes by seeing lines that do not exist

45. The examination of the relationships among the facts (objects, people, and elements) in an artwork.

46. The colors which blue is dominate. These colors take your eyes back into the page.

47. The hues in which yellow and red are dominate. Keep your eye to the front of the painting.

48. How an art work feels. The surface quality of an art work usually perceived by the sense of touch. However, texture can also be implied, perceived visually though not felt through touch.

49. Texture in an artwork which can be seen and not touched, such as those in a painting or photograph

50.  The materials the artist uses to create the artwork. Examples; oil paints, wood, water colors, clay, glass, acrylic, dye…  A category of art such as drawing, painting, sculpture, photography, and music…

51.  The things that are represented in an artwork, such as people, buildings, trees, etc.

52.  The study of art that involves asking and answering all kinds of questions about art, how people respond to it, and how it relates to our lives.

53.  The plan the artist uses to organizes the art elements, (line, shape, space, etc…

54.  The facts in an art work such as the objects, shapes and elements.

55.  The act of organizing the elements of an artwork into a harmoniously unified whole

56.  Way of using the elements of art and the principles of design to evaluate art

57.  Lines created with a variety of tools; can be outlines, contour lines, single lines or hatching

58.  Where one shape ends and the other begins, resulting in implied line

59.  Lines that are produced to express an idea, mood, or quality (graceful, nervous, delicate, aggressive, etc.)