AAQ1

Subject/Subject Matter

The person, object, or space depicted in a work of art

Context

Circumstances surrounding the creation of a work of art, including historical events, social conditions, biographical facts about the artist, and their intentions

Media/Medium

The material on or from which an artist chooses to make a work of art

In Situ

In the locations for which a work of art (object) was originally made

Guilds

Medieval associations of artists, craftsmen, or tradesmen

Academies

Institutions training artists in both the theory of art and practical techniques

Content

The meaning, message, or feeling expressed in a work of art

Representational

Art that depicts figures and objects so that we recognize what is represented

Valuing Art

Literally putting a price tag/monetary value on a work, including technique/skill required, the fame of the artist who created it, sentimental value, cultural value, historical value, and religious value

Design

A governing plan or approach by which various parts of an artwork are created and assembled

Form

An object that can be defined in three dimensions (length; width; height)

Geometric

Regular and readily expressible in words or mathematics (cubes; spheres; etc.)

Organic

Three-dimensional form made up of unpredictable, irregular planes that suggest the natural world (living things, such as plants and animals)

Style

The characteristic way in which an artist or group of artists uses visual language to give a work an identifiable form of visual expression

Foreshortening

A perspective technique that depicts a form (often distorting or reducing it) at an angle that is not parallel to the picture plane

Formal Elements

Elements that include Line, Shape, Volume/Mass, Texture, Color/Value, Motion/time, Space/Perspective, and Form

Contrast (Principle)

Elements = the basic vocabulary of art

Line

The most fundamental element that artists use; exist in almost every work of art or design

Space/Perspective

Help to define space/perspective; texture; volume; shape

Distinctions in Art

Show us distinctions between two different components within a work of art

Actual/Literal

Can be actual/literal—we see them because they are identifiable by the eye through the design that has been created

Implied Line

Can be implied—the line is an illusion created by the design for which we are able to form our own understanding of what points are being connected

Direction in Art

Can demonstrate direction- they tell our eye how to move through a work

Communication of Concepts

Can be used to communicate intended concepts—used by artists to convey certain emotions; actions; or characteristics

Sense of Control

Can demonstrate a sense of control—highlights a planned approach that is deliberate and accurate

Sense of Freedom

Can demonstrate a sense of freedom- express an approach that is free and unrestrained

Shape

Two-dimensional area that can only be defined by their height and width: they have no depth

Function of Shape

They can function only as simple concepts (circles, squares, triangles, etc.) that can be used to organize what we see

Shape as a Tool

Can be used as a tool to create a three-dimensional object

Shape and Space

Can be used as a tool to define space

Geometric Shape

Can be geometric—composed of regular lines and curves; demonstrates a sense of control

Organic Shape

Can be organic—made up of unpredictable, irregular lines that suggest the natural world; may indicate a sense of chaos

Literal Shape

Can be literal- defined by a visible boundary

Implied Shape

Can be implied—a shape which is formed by different elements working together

Volume

Volume—amount of space occupied by an object

Mass

Mass- suggests that something is solid

Weight and Gravity

Has a weight; suggests gravity and a connection to Earth

Empty Space

If an object has empty space—absence of mass suggest lightness; airiness; flight

Actual/Literal Texture

Any three-dimensional object that can be touched and felt has an actual/literal texture

Implied Texture

Two-dimensional images can also have an implied texture—the artist has created an effect that reminds us of our tactile memory of an actual texture.

Subversive texture

A contradiction of our previous tactile experiences.

Color

Considered to be the most vivid element of art and design—it attracts our attention and quickly conveys a particular feeling or emotion.

Primary colors

Red; yellow; blue.

Secondary colors

Produced by mixing two primary colors.

Orange

Red + yellow.

Green

Blue + yellow.

Violet

Red + blue.

Tertiary colors

Produced by blending a primary color with a secondary color.

Red-Violet

Red + violet.

Blue-Green

Blue + green.

Complementary colors

Colors opposite one another on the color wheel.

Hue

How we identify color groups.

Value

Relative lightness or darkness compared to another hue.

Example of value

Pure yellow has a light value; pure blue has a dark value.

Temperature

How we describe color based on our associations with warmth or coolness.

Motion

The effect of changing placement in time.

Implied motion

We don't see the actual movement occurring, but we are able to understand that motion is there, based on visual clues.

Illusion of motion

Artists use visual tricks to deceive the eyes into believing there is motion as time passes, even though no movement is occurring.

Actual/literal motion

Physical movement is occurring; this is the case with performance art where bodies are moving or in kinetic art.

Time

An implied or literal documentation of the passage of time.

Space

Used as a way to create a sense of depth or particular spacing of components within a work of art.

Perspective

Used to create a sense of depth on a two-dimensional surface.

Atmospheric perspective

Use of modified values, color, and texture to create the sense that some parts of an image are situated further away than others.

Isometric perspective

Relying on a system of diagonal parallel lines to communicate depth.

Linear perspective

Relying on a system where imaginary lines converge at specific points to create an illusion of depth.

Foreshortening

A perspective technique that depicts a form at an angle that is not parallel to the picture plane.

Geometric form

Regular and readily expressible in words or mathematics (cubes; spheres; etc.).

Organic form

Three-dimensional form made up of unpredictable, irregular planes that suggest the natural world.

Steps in the Process

1. OBSERVATIONS 2. MAKE A CLAIM 3. SUPPORT YOUR CLAIM.

Key words for process

Observe, Claim, Support.