Do You Know The Definition Of These Art Terms?
Art Terms Test
i. Achromatic
(A) Colors having zero saturation.
(B) Complimentary from colour; defective hue.
(C) All of the above.
2. Aerial View
(A) Seeing from a point of view that is from an distance.
(B) A comprehensive view in a downward direction, besides called a "birds-eye view."
(C) All of the to a higher place.
3. Coordinating Colors
(A) Colors that sit beyond from each other on the color wheel.
(B) Any set up of 3 or five colors closely related in hue(s). They are usually side by side (next) to each other on the color wheel.
(C) All of the in a higher place.
4. Judge Symmetry
(A) The utilise of forms that are similar on either side of a central axis. They may give a feeling of the exactness or equal relationship only are sufficiently varied to forbid visual monotony.
(B) Identical shapes are repeated on either side of a central axis. The left side becomes a mirror image of the correct side.
(C) All of the above.
5. Asymmetrical Balance
(A) When both sides of a balancing point are equal; that is, they are identical or almost identical.
(B) Placement of non-identical forms to either side of a balancing bespeak in such a manner that the two sides seem to be of the same weight visually.
(C) All of the above.
half-dozen. Atmospheric Perspective
(A) A comprehensive view in a downward direction.
(B) A technique used by painters for representing three-dimensional infinite on a flat two-dimensional surface by creating the illusion of depth or recession.
(C) All of the above.
7. Residue
(A) A feeling of equality in weight, attending, or attraction of the various elements within a composition as a means of accomplishing unity.
(B) A feeling created when various elements within an artwork are distributed to create a sense of uneasiness.
(C) All the to a higher place.
8. Chromatic
(A) Pertaining to color. Existence or having or characterized by hue.
(B) A color perceived to have a hue saturation greater than naught.
(C) All of the above.
9. Colour Permanence
(A) Refers to a pigment's resistance to fading when exposed to light.
(B) Colors that lose their hue saturation when strongly diluted or combined with white.
(C) All of the higher up.
10. Composition
(A) The arrangement of the pattern elements within the design area.
(B) The ordering of visual and emotional feel to give unity and consistency to a piece of work of art and permit the observer to encompass its meaning.
(C) All of the above.
11. Say-so
(A) A technique used by artists by introducing toned-down compositional elements to a limerick.
(B) The accent that is placed on a detail area or feature of an artwork.
(C) All of the above.
12. Focal Point
(A) A specific area, element, or principle that dominates a work of art. The viewer'south center is usually drawn there first.
(B) The area in a work where the eye is most compellingly fatigued. Too referred to every bit the eye of interest.
(C) All of the in a higher place.
13. Foreshortening
(A) A form of perspective used to create the illusion of an object receding strongly into the distance or background.
(B) Characterized chiefly past short brush strokes of brilliant colors in immediate juxtaposition to represent the effect of light on objects.
(C) All of the above.
14. Fugitive Colors
(A) Colors that keep the same hue though they may lose saturation downward to a dead gray.
(B) Short-lived colors capable of fading or irresolute, especially with exposure to light, atmospheric pollution, or when mixed with certain substances.
(C) All of the above.
fifteen. Grisaille
(A) An art technique that uses realistic imagery to create the optical illusion that the depicted objects exist in three dimensions.
(B) A monochrome painting technique executed entirely in shades of grayness or another neutral greyish color.
(C) All of the in a higher place.
16. Highlight
(A) The brightest part of an artwork.
(B) The nearly saturated of paint color from a hue family unit.
(C) All of the higher up.
17. Horizon Line
(A) A line that divides a scene into three rows and iii columns.
(B) In a painting, a level line where land or water ends and the sky begins.
(C) All of the above.
18. Horizontal Balance
(A) The components that are balanced above and beneath a central axis.
(B) The components that are balanced left and right of a central axis.
(C) All of the above.
xix. Hue
(A) The name of the colour, such as red, light-green, or yellow.
(B) The color that can be seen when white calorie-free passes through a prism.
(C) All of the in a higher place.
20. Unsaid Line
(A) A line in an artwork that is subtlety perceived by the viewer just has no physical form.
(B) The overall flow of 1 line into another in artwork, with continuation from one area to the next suggested by their mutual management and juxtaposition.
(C) All of the above.
21. Landscape
(A) Works of fine art characterized by a childlike simplicity that possesses minute detail, bright saturated colors, and lack of perspective.
(B) Works of art that describe outdoor scenery that typically includes trees, buildings, crops, mountains, rivers, wildlife, and forests.
(C) All of the above.
22. Linear Perspective
(A) A organization for creating the illusion of depth on a two-dimensional surface by determining the relative size of objects from the foreground of an image to the background.
(B) A organisation based on a scientifically or mathematically derived serial of bodily or unsaid lines intersecting at a vanishing betoken on the horizon.
(C) All of the in a higher place.
23. Local Color
(A) An object's true colour.
(B) The bodily colour as distinguished from the apparent color of objects and surfaces; true color, without shadows or reflections.
(C) All of the above.
24. Masterpiece
(A) A work done with extraordinary skill, peculiarly a work of art, arts and crafts, or intellect, that is an exceptionally great achievement.
(B) A manner of painting in which the forms, colors, or tones of an object are lightly and apace indicated.
(C) All of the above.
25. Medium
(A) The material or technique an artist works in, oil paint or watercolor, are examples.
(B) The component of paint in which the paint is dispersed.
(C) All of the above.
26. Minimal Design
(A) Omitting all non-essential or unimportant elements and details which don't contribute to the essence of the overall limerick.
(B) The stress placed on a single expanse of art or a unifying visual theme.
(C) All of the above.
27. Monochromatic
(A) Colors whose relative visual temperatures make them seem cool.
(B) A colour scheme express to variations of one hue and all its tints and shades.
(C) All of the above.
28. Negative Space
(A) The term for a genre of mod artistic expression that strives to show the wonders of the Universe.
(B) The unoccupied or empty infinite left after the positive shapes have been laid down by the artist.
(C) All of the above.
29. Old Chief
(A) A term that traditionally refers to a prominent and highly skilled European artist during the 16th, 17th, or early 18th centuries.
(B) A work of art past an established master.
(C) All of the in a higher place.
xxx. Perspective
(A) A technique used to create the illusion of altitude or depth on a flat surface.
(B) The position from which something is seen or considered.
(C) All of the above.
31. Pigment
(A) Any coloring amanuensis, fabricated from natural or synthetic substances, used in paints or drawing materials.
(B) The substance in paint or anything that absorbs light, producing (reflecting) the same color every bit the pigment.
(C) All of the above.
32. Positive Space
(A) Space that is occupied by an element or a course.
(B) The mass of iii-dimensional shapes in space.
(C) All of the in a higher place.
33. Pure Symmetry
(A) Reducing the importance of one or more elements in fine art to increase the importance of other elements.
(B) An equilibrium created by identical parts equally distributed on either side of a real or imaginary central axis in mirror-like repetition.
(C) All of the above.
34. Radial Balance
(A) The distribution of mass within an motorcar tire or the unabridged wheel to which it is attached.
(B) The balance as the event of components that are distributed effectually a center point or spring out from a primal line.
(C) All of the above.
35. Seascape
(A) A painting or piece of work of fine art that depicts the ocean, life around the sea, or a scene that includes the sea.
(B) A painting representing an expansive view of the ocean or sea.
(C) All of the above.
36. Simplicity
(A) Omitting the unnecessary details that don't significantly impact the design or limerick.
(B) A technique in painting characterized by the openness of form.
(C) All of the above.
37. However Life
(A) A painting or other two-dimensional work of fine art representing inanimate objects such as bottles, fruit, and flowers.
(B) The organisation of these objects from which a drawing, painting, or other artwork is made.
(C) All of the above.
38. Subject Matter
(A) The topic dealt with or the field of study represented in a piece of work of fine art.
(B) The size, majority, and dimension of a detail object.
(C) All of the above.
39. Support
(A) The textile providing a surface upon which an artist applies color, collage, etc.
(B) Something made to enclose a picture or mirror.
(C) All of the in a higher place.
xl. Symmetrical Balance
(A) A mathematically generated blueprint that is reproducible at any magnification or reduction.
(B) The placing of identical forms to either side of the primal axis of a piece of work to stabilize it visually.
(C) All of the in a higher place.
41. T-square
(A) A rigid framework, oft forest or steel, used to back up a sculpture or other large work while it is existence made.
(B) A guide for drawing horizontal lines.
(C) All of the to a higher place.
42. Three-dimensional
(A) Occupying or giving the illusion of three dimensions (height, width, and depth).
(B) A measurable distance on a surface that shows superlative and width.
(C) All of the to a higher place.
43. Tint
(A) A hue with white added. Pink is a tint of carmine.
(B) Colors of very low saturation, budgeted grays.
(C) All of the above.
44. Two-dimensional
(A) Having 2 dimensions (height and width).
(B) Referring to something that is flat.
(C) All of the above.
45. Underpainting
(A) A painting technique in which pure dots of color are dabbed onto the sheet surface.
(B) The preliminary layers of paint in a painting that render the basic outline of the paradigm before the final paint layers are added to complete the work.
(C) All of the above.
46. Undertone
(A) A subdued or muted tone of color.
(B) A white material for preparing canvas for painting, fabricated of a mixture of chalk, white pigment, and glue.
(C) All of the above.
47. Vanishing Indicate
(A) In perspective, the point on the horizon where 2 parallel lines appear to converge and visibility ends.
(B) A continuance, a flow, or a feeling of motility achieved by the repetition or regulated visual units.
(C) All of the above.
48. Vertical Rest
(A) The interval or measurable distance between pre-established points.
(B) The distribution of visual weights in artwork that height and bottom seem to be in equilibrium.
(C) All of the above.
49. Wild fauna Fine art
(A) The exploration of nature in fine art.
(B) Works of art that portrays wild animals or domesticated animals.
(C) All of the above.
l. Worm's-center View
(A) As if seen from the world's surface or the flooring looking up from beneath.
(B) A variation on a landscape painting where the horizon is placed very low in the flick or exterior of it entirely.
(C) All of the higher up.
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Answers: 1C, 2C, 3B, 4A, 5B, 6B, 7A, 8C, 9A, 10C, 11B, 12C, 13A, 14B, 15B, 16A, 17B, 18B, 19A, 20C, 21B, 22C, 23C, 24A, 25C, 26A, 27B, 28B, 29C, 30A, 31C, 32A, 33B, 34B, 35C, 36A, 37C, 38A, 39A, 40B, 41B, 42A, 43A,44C, 45B, 46A, 47A, 48B, 49B, 50C
UPDATED: 09 January 2022
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