F O U N D A T I O N S of A R T & D E S I G N
R E V I E W for the Foundations of Art & Design Final Exam – June 9, 2014
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The final exam is comprised of two distinct parts. Part one consists of written
questions similar in format to the questions presented on tests during the
semester. Part two takes the form of a practical or performance exam where
you are asked to execute a drawing of your hand holding an object. This piece
requires that you draw from observation, and use techniques you’ve learned
to develop a compelling composition with a clear sense of space and form.
Each part of the final exam is worth 50% of the total exam grade.
• You should be able to list and define all of the elements and principles of art/design.
• You should be able to explain the differences between elements and principles of
art/design.
• You should be able to define key terms and concepts identified in the chapters of
our textbook, Design Principles and Problems:
1) Awareness of Design
2) Unifying Principles of Design
3) Line
4) Shape and Form
5) Space
6) Texture
7) Value
8) Color
9) The Third Dimension.
• You should be able to create a wide range of values using techniques like
modeling, stippling, hatching and crosshatching. And you should be able to
create a value scale using these techniques.
• You should be able to use chiaroscuro to create the illusion of form.
• You should be able to answer all of the questions presented throughout the
chapters that were covered in your textbook, and questions already asked on
any of the tests/quizzes previously given.
• You should be able to identify works of art by the main characteristics conveyed
and thereby place them within the history of art – specific to eras we covered,
i.e. from Prehistoric times to Post Impressionism as indicated in our textbook,
The Annotated Mona Lisa.
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The Visual Arts: key terms and concepts to know.
CHAPTER 1
Awareness of Design
ABSTRACT ART
NONREPRESENTATIONAL ART
APPLIED ARTS
NONOBJECTIVE ART
COLOR
NONFIGURATIVE ART
CONCEPT
PICTORIAL
CRAFTS
PICTURE PLANE
DESIGN
PROVENANCE
FIGURE
SCANNING
FIGURE-GROUND RELATIONSHIP
SHAPE
FINE ARTS
SPACE
FLAT SPACE
SPONTANEOUS INTERACTION
FORM
TEXTURE
FORMAT
THREE-DIMENSIONAL ART
GROUND
TWO-DIMENSIONAL ART
ILLUSTRATION
VALUE
LINE
VIEWING ANGLE
MEDIUM
THE CREATIVE PROCESS
MORPHING
VISUAL ARTS
CHAPTER 2
Unifying Principles of Design
ASYMMETRICAL BALANCE
REPETITION
CROPPING
RHYTHM
ECONOMY
SCALE
EMPHASIS
SYMMETRICAL BALANCE
FOCAL POINT
UNITY
HARMONY
VARIETY
HORIZONTAL BALANCE
VERTICAL BALANCE
PATTERN
VISUAL WEIGHT
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CHAPTER 3
Line
CALLIGRAPHY
IMPLIED LINE
CROSSHATCHING
NEGATIVE AREA
EDGES
POSITIVE AREA
EXPRESSIVE LINE
SCALE
GESTURE
STIPPLING
HATCHING
VALUE CONTRAST
The Element of Line
The world is full of lines, such as tree trunks, spider webs, and wires. Artists use line to lead your eyes through a work of art.
A line is an element of art that is the path of a moving point through space. A line has width as well as length, but usually the
width of a line is very small compared with its length. In fact, a line is thought of as being one-dimensional. Dimension
means the amount of space an object takes up in one direction. Sometimes, the edges of shapes look like lines; so artists
often use outlines to define shapes. They can also arrange things in rows to create implied lines. There are five basic kinds
of lines. (1) Vertical lines move straight up and down—they do not lean at all. (2) Horizontal lines lay down, parallel to the
horizon. (3) Diagonal lines slant. (4) Zigzag lines are made from a combination of diagonal lines. (5) Curved lines change
direction gradually. Lines can also vary in length, width, texture, direction, and degree of curve. These variations are caused
by differences in the media, tools, and surfaces used. Lines can also vary in value. Value is the element of art that describes
the lightness or darkness of an object. Artists can vary the number of lines and the spaces between them to indicate shading.
The lines may be parallel, or they may cross one another. Crosshatching is the technique of using crossed lines for shading.
Different media and tools create lines with different values.
The Expressive Qualities of Line
Line is an important element in the language of art because of its expressive capabilities. For example, vertical lines are
static and appear to be at rest, expressing stability. Horizontal lines are also static, expressing feelings of peace, rest, and
quiet. Since curved lines change direction, they express activity. Diagonal lines express instability, tension, and excitement
while zigzag lines create confusion. Three special types of drawing will develop your understanding of line. (1) In contour
drawing, you use a continuous line to define the edges and surface ridges of an object. (2) In gesture drawing, you can
draw short, loose lines to capture movement. While contour drawing captures the exterior of an object, gesture drawing
represents the interior. (3) Calligraphic drawing is often associated with Asian writing and art. The word calligraphy means
beautiful handwriting. In China and Japan, calligraphy is used to form characters that represent the language. You can make
calligraphic lines with a paintbrush, creating brushstrokes that change from thin to thick in one stroke.
CHAPTER 4
Shape and Form
ABUTTING SHAPES
PLANE
BIOMORPHIC
PLANE STRUCTURE
FORM
SHADING
HARD EDGE
SHAPE
INTERLOCKING SHAPES
SOFT EDGE
LEADING EDGE
TENSION
OVERLAPPING SHAPES
VOLUME
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Shapes and Forms
All objects are either shapes or forms. A shape is a two-dimensional area that is defined in some way. There are two types of
shapes: geometric and free-form. Geometric shapes are precise shapes that can be described using mathematical formulas.
Geometric shapes include circle, square, triangle, oval, rectangle, octagon, parallelogram, trapezoid, pentagon, and
hexagon. Free-form or “organic” shapes are irregular and uneven shapes. Forms are three-dimensional. They are like shapes
because they have length and width, but they also have depth. Shapes like squares and triangles can “grow” into forms
such as cubes and cones. Like shapes, forms can also be geometric or free-form. Houses are usually geometric forms while
your body is a free-form form. Artists create both shapes and forms. In two-dimensional works, they can use lines and
shapes to represent forms.
CHAPTER 5
Space
ATMOSPHERIC PERSPECTIVE
LINEAR PERSPECTIVE
BACKGROUND
MIDDLE GROUND
COMPOSITIONAL POSITION
MULTIPLE-POINT PERSPECTIVE
EYE-LEVEL LINE
ONE-POINT PERSPECTIVE
FLAT SPACE
OVERLAPPING
FOREGROUND
POINT OF VIEW
HORIZON LINE
SCALE
CONVERGING LINES
VANISHING POINT
TWO-POINT PERSPECTIVE
Space
We exist in space and move through it. Our bodies take up space as do all shapes and forms. In art, space is the
element that refers to the emptiness or area between, around, above, below, or within objects. In both two- and
three-dimensional art, the shapes and forms are called the positive space, or the figure. Empty spaces around
shapes and forms are called negative spaces, or ground. The shape and size of negative spaces affect the way you
interpret positive spaces. Some artists give equal emphasis to both negative and positive space in order to
confuse the viewer. Over, under, through, behind, and around are words that describe three-dimensional space.
Architects create buildings that both occupy and enclose spaces. Artworks that are freestanding are surrounded
by negative space whereas relief sculpture projects into negative space. When the positive areas project slightly
from the flat surface, the work is called bas-relief or low relief. When the positive areas project farther out, the
work is called high relief.
How Artists Create Shapes and Forms in Space
Shapes and forms can be classified as natural or manufactured. Artists use many materials and techniques to
make shapes. They concentrate on both outline and area. They also model, mold, and carve three-dimensional
forms. Artists who work on two-dimensional surfaces can create the illusion of three-dimensional form. To show
forms, they use changes in value. They arrange light and shadow on shapes in ways that mimic reality. This
arrangement of light and shadow is called chiaroscuro. To create the illusion of depth—the impression that some
objects and shapes are closer to you than others—they use perspective. Perspective is a graphic system that
creates the illusion of depth and volume on a two-dimensional surface. Artists use six main techniques to give their
artworks perspective. (1) They overlap objects, where one object covers part of a second object, and the first
object seems to be closer to the viewer. (2) They include differences in size, where large objects appear to be
closer to the viewer than small objects. (3) They place objects at different levels on the picture plane to be closer
to the viewer than objects placed near eye level. (4) They include differences in detail. (5)They alter the value and
intensity of colors. (6) They incorporate converging lines to show distance and depth. To create the illusion of
forms and depth, artists must try to represent the way we perceive things in real life.
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CHAPTER 6
Texture
ACTUAL TEXTURE
INTERPREPRETIVE TEXTURE
AIRBRUSH
MONOTYPE
ASSEMBLAGES
RUBBING
COLLAGE
SIMULATED TEXTURE
ERASURE
TEXTURE
FROTTAGE
TRANSFER
IMPASTO
VISUAL TEXTURE
LOCAL TEXTURE
WOODCUT
CHAPTER 7
Value
CHIAROSCURO
MODELING
CONTINUOUS TONE
OPTICAL MIXTURE
GRADATION
PIXEL
GRAY SCALE
TONING
LOCAL VALUE
VALUE
MID-TONE
Value is the element of art that describes the lightness or darkness of an object.
CHAPTER 8 Color
ANALOGOUS HUES
PIGMENT
COLOR WHEEL
POINTILLIST
COMPLEMENTARY HUES
PRIMARY COLOR
HUE
SATURATION
INTENSITY
SECONDARY COLOR
LIMITED PALETTE
SIMULTANEOUS CONTRAST
LOCAL COLOR
SUBJECTIVE COLOR
MONOCHROMATIC
TERTIARY COLOR
OPTICAL MIXTURE
VALUE
PALETTE
VISIBLE SPECTRUM
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The Properties of Color
Color has great expressive qualities; so it is important to understand what it is and how you see it. Color is an
element of art derived from reflected light. Every color is the product of a combination of reflected light waves—
white reflects all light waves and is, therefore, a combination of all colors. By bending a white light wave through
a prism, we can see the color spectrum: red, orange, yellow, green, blue, indigo, and violet. Color has three
properties, which work together to make the colors we see. (1) Hue is the name of a color in the color spectrum.
Red, yellow, and blue are the primary hues in pigments. Mixtures of these make the secondary hues: orange,
violet, and green. And six intermediate hues are mixtures of primary and secondary colors. Mixing a hue with its
complement dulls the hue, or lowers its intensity. Complementary colors are the colors opposite each other on the
color wheel. A color wheel is the spectrum bent into a circle. It is a useful tool for organizing colors. It shows the
primary, secondary, and intermediate hues. (2) Value is the element of art that describes the darkness or lightness
of a color. You can add black or white to hues to change their values. (3) Intensity OR saturation is the brightness
or dullness of a hue. A light value of a hue is called a tint. A dark value of a hue is called a shade. To lower the
intensity of a hue, you can mix it with its complement.
CHAPTER 9
The Third Dimension
ADDITIVE SCULPTURE
MAJOR CONTOUR
ARMATURE
MAQUETTE
CASTING
MODELING
FOUND OBJECTS
READY-MADE
FRONTAL
SECONDARY CONTOUR
FULL ROUND
SUBTRACTIVE SCULPTURE
KINETIC ART
LOW RELIEF
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Art History: study tips and concepts to know. Know examples from each period.
1. Prehistoric: Paleolithic (Nomadic, Man vs. Nature) and Neolithic (domestication
of cattle and crops, living in settled communities) Monolithic building:
Stonehenge Post and Lintel Construction
2. Egypt: FOREVER, IMMORTALITY, stone construction, pyramids, Hierarchical
proportion, the formula for representing the Pharaoh, the ka (spirit) and
mummification.
3. Greek Art: Democracy, Observation of Nature, Science, Philosophy, Thirst
for knowledge, Contrapposto, PERFECTION, idealized types rather than
portraits.
4. Roman Art: Serves the needs of the empire and the emperors, Art for political
purposes, use of concrete as a building material, round arch, barrel vault,
groin vault, aqueducts, Colosseum, specific portraits.
5. Byzantine Art: The rise of Christianity brings a more abstract and symbolic art
form. Gold, mosaics, simplified patterns and designs. Tesserae – small pieces
of stone or glass used to make mosaics.
6. Medieval Art: The Age of Faith or the Reign of Religion. Romanesque, heavy,
lower to the ground, stone, round arches, darker, church exteriors simple, inside
more decorated, and reminded people of roman times. Gothic: Height and Light,
pointed arch and ribbed groin vault, decorated exteriors as well as interiors,
extensive use of stained glass and flying buttresses invented to support and
allow for thinner and taller walls.
7. Renaissance: Rebirth of classical ideas and knowledge, a return to observation
from nature, a belief in man’s ability to improve himself, a celebration of
HUMANISM, INDIVIDUALISM, and RATIONALISM, use of Classical architectural
elements mixed with Domes and circular windows. 4 top breakthroughs: oil on
canvas, perspective (linear, play of size/scale of objects, atmospheric), use of
light and shadow (chiaroscuro), and pyramidal composition.
8. Baroque: EMOTION and DRAMA. Works have dramatic lighting called
TENEBRISM.
9. Rococo: Light-hearted, frivolous, ROMANTIC LOVE, scenes of everyday life,
Upper class scenes, light pastel color palette.
10. Neoclassicism: The age of REVOLUTION (French and American) brings a new
style of art based on classical antiquity. Revival of the glory of Greece, and the
grandeur of Rome. Historical paintings, inspirational and uplifting. Smooth
brush strokes, conveying idealized human form.
11. Romanticism: The power of passion, emotion, intuition. Stories of heroic
adventure. Use of strong color and contrast. Name taken from the “romance”
languages. Provides visceral experiences.
12. Realism: Associated with the political interests of the working class and a
reaction to the Industrial Revolution, works use common people as subject
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matter, celebrate the contributions of working class people. “Show me an
angel and I will paint one”- Courbet. A commitment to painting what they
actually see, and the world as they truly experience it.
13. Impressionism: Scenes of the leisure activities of the Upper and Middle classes,
commitment to painting how light affects a surface, loose brush work, paint
that comes out of a tube, working outside (en plein air) rather than in the
studio.
14. Post Impressionism: Composed of individual styles all influenced by
Impressionism but unsatisfied with the “trivial” subject matter of the
Impressionists. Van Gogh’s energetic brush strokes are examples of the
individual styles that evolved.
ADDITIONAL key terms and concepts to know
ARCH/GROIN VAULT/BARREL VAULT
BAS RELIEF
COFFERED CEILING
DORIC/IONIC/CORINTHIAN COLUMNS
CONTRAPPOSTO
EN PLEIN AIR
FRESCO
MOSAIC
PEDIMENT
POST & LINTEL
SFUMATO
STAINED GLASS
TROMPE L’OEIL
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TIPS for Studying:
1. Practice drawing your hand holding an object. Draw simple shapes, arrange your
composition and use various techniques to build a sense of 3-dimensional form.
Drawing your hand holding an object will be the practical portion of the final exam.
2. Organize your tests, quizzes and homework. Study them. If you can answer all your
previous test/quiz questions correctly, you will do well.
3. Use your text book to clarify YOUR understanding of terms and concepts.
4. Make flash cards of terms and styles. Writing helps to cement the information
and improves understanding.
5. It is better to spend an hour of uninterrupted time studying than 3 hours with facebook
and other distractions. Study in a focused way and take breaks, treating yourself to
other activities.
6. Prioritize your studying by making a calendar or a plan of what you will study on which
days. Focus on the tests that are first and the subjects you find more challenging.
7. Get a good night sleep before the test. Research shows sleep helps to improve memory.
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