Art 115 Part 2 Exam Review

42 Questions

Please wait...
Art Quizzes & Trivia

Art 115 part 2 EXAm review Art 115 part 2 EXAm review

Questions and Answers
  • 1. 
    The exaggerated use of linear perspective to achieve a dramatic and engaging presentation of the subject. Amplified perspective is often created using a n unusual viewing position, such as a bird’s eye view, accelerated convergence, or some for of distortion.
  • 2. 
    An obvious break from norm in a design.
  • 3. 
    A form of balance that occurs when roughly similar imagery appears on either side of a central axis.
  • 4. 
    Equilibrium among visual elements that do not mirror each other on either side of an axis.
  • 5. 
    A visual phenomenon in which the atmospheric density progressively increases, hazing over the perceived world as one looks into its depth.  Overall definition lessens, details fade, contrasts become muted, and ,in a  landscape, a blue mist descends.
  • 6. 
    The equal distribution of weight or force among visual units.
  • 7. 
    The angle at which an object or event is viewed. An aerial view can provide the sweeping panorama needed to convey the enormity of a battle, while a low camera angle can provide an expansive view of the sky.
  • 8. 
    As identified by Rudolph Arnheim, a compressive compositional force.
  • 9. 
    The mind’s inclination to connect fragmentary information  to produce a completed form. Closure is an essential aspect of Gestalt psychology.
  • 10. 
    The combination of multiple parts into a unified or harmonious whole.
  • 11. 
    In perspective drawing, a hypothetical cone of perception originating at the eye of the artist and expanding outward to include whatever he or she wishes to record in an illusionistic image, such as a  perspective drawing.  The con’s maximum scoping angle is 45-60 degrees anything outside of the cone of vision is subject to distortion.
  • 12. 
    A unifying force created by the outer edge of a composition or by a boundary within a composition.
  • 13. 
    Degree of connection or flow among compositional parts.
  • 14. 
    The degree of difference between compositional parts or between one image and another. Contrast is created when two or more forces operate in opposition.
  • 15. 
    As identified by Rudolph Arnheim, an expansive compositional force.
  • 16. 
    Special attention given to some aspect of a composition to increase is prominence.
  • 17. 
    In linear perspective, the eye level is determined by the physical position of the artist. Sitting on the floor creates a low eye level while standing at an easel creates a higher eye level. Also known as the horizon line. All vanishing points in one and two point perspective are positioned on the eye level.
  • 18. 
    Primary point of interest in a composition. A focal point os often used to emphasize an area of particular importance r to provide a strong sense of compositional direction.
  • 19. 
    Discontinuous space that is created when multiple viewpoints are combined within a single image.
  • 20. 
    The combination of shapes or volumes  along a common edge.
  • 21. 
    A theory of visual perception that emphasizes the importance of holistic composition. According to this theory,  grouping, containment, repetition, proximity, continuity, and closure are essential aspects of visual unity.
  • 22. 
    Visual organization based on similarity in location, orientation, shape, color and so on.
  • 23. 
    The absence of balance
  • 24. 
    The science of movements
  • 25. 
    A mathematical system for projecting the apparent dimensions of a three-dimensional object onto a flat surface. Developed by artists during the Renaissance, linear perspective is one strategy for creating the illusion of space.
  • 26. 
    In design, the use of deliberate visual pathways to help direct the viewer’s attention to areas of particular interest.
  • 27. 
    A form of linear perspective in which the lines receding into space converge at a single canishing point of the eye level or horizon line.
  • 28. 
    In linear perspective, the flat surface on which a three-dimensional image is mentally projected.
  • 29. 
    The relative size of visual elements within an image.
  • 30. 
    The distance between visual or structural elements or between an object ad the audience.
  • 31. 
    A form of balance that is created when shapes or volumes are mirrored both vertically and horizontally, with the center of the composition acting as a focal point.
  • 32. 
    The use of the same visual element or effect a number of times in the same composition.
  • 33. 
    1. the presentation of multiple units in a deliberate pattern. 2. In filmmaking, the perceived rate and regularity of sounds, shots, ad movement within shots. Rhythm is determined by the beat, accent, and tempo.
  • 34. 
    A size relationship between two separate objects, such as the relationship between the size of the Statue of Liberty and a human visitor to the monument.
  • 35. 
    The area within or around an area of substance the artist/designer defines and activates space when constructing a three dimensional object.
  • 36. 
    A form of balance that is created when shapes are mirrored on either side of a central axis, as in a composition that is vertically divided down the center.
  • 37. 
    A form of linear perspective in which the lines receding into space converge at a two vanishing points of the eye level (one to the left of the object being drawn and one to the right of the object being drawn) plus a third vanishing point above or below the eye level. Used when the picture plane must be tilted to encompass an object placed above or below the eye level.
  • 38. 
    A form of linear perspective in which the lines receding into space converge at a two vanishing points of the eye level (or horizon line), one to the left of the object being drawn and one to the right of the object being drawn.
  • 39. 
    Compositional similarity, oneness, togetherness, or cohesion.
  • 40. 
    In linear perspective, the point or points on the eye line at which parallel lines appear to converge.
  • 41. 
    The differences which give a design visual and conceptual interest; notably use of contrast, emphasis, difference in size, and so forth.
  • 42. 
    1. the inclination of shapes to float or sink compositionally 2. The relative importance of a visual element within a design.