5-1. Painters who used violent chiaroscuro in paintings are known as
a. Surrealists.
b. Tenebrists.
c. Cubists.
d. Impressionists.
e. Constructivists.
2. A dramatic effect in a composition is achieved by
a. closely related values.
b. strongly contrasting values.
c. metamorphic value patterns.
d. natural value patterns.
e. amorphous value patterns.
3. If a picture is produced employing an "open composition," the values in the picture area are
a. individually bounded by shapes and function compositionally.
b. individually bounded by heavy lines and function compositionally.
c. not contained by any kind of line or shape, but function compositionally.
d. used sparingly and contained inside definite shapes.
e. applied haphazardly and without consideration of the final organization or layout.
4. A scheme of several value changes in a single hue is called
a. monotone.
b. monochromatic.
c. monotype.
d. montage.
e. monotint.
5. Although contemporary artists generally have rejected the use of value to describe form in a traditional chiaroscuro approach, the _______________ do tend to use value in this manner.
a. New Realists
b. Futurists
c. New Cubists
d. Geometricians
e. Constructionists
6. To represent objects with a strong degree of plasticity, solid shapes should have
a. values that are all medium gray.
b. dark values, light values, and several gray medium values.
c. all light values with light highlights.
d. dark values with dark shadows.
e. one color added to values that are all medium gray.
7. The relative differences of the subject’s lightness and darkness resulting from the reflected light is the range of
a. wavelengths.
b. texture.
c. plastic line.
d. value.
e. stage lighting.
8. Value contrasts can
a. describe the contours of shapes.
b. help create plastic line quality.
c. help create pictorial variety.
d. create dramatic lighting effects.
e. all of the above.
9. A sudden abrupt change of value or tone could be interpreted by the viewer as defining
a. a curved surface plane.
b. a sharp change of surface direction.
c. the meeting of two surface planes.
d. an object and its background.
e. b, c, and d.
10. When artists use many subtle values to make an object appear to have the illusion of volume
a. they are creating a very decorative surface.
b. they are creating a very plastic value.
c. they are not able to make areas flat and even.
d. it can only be accomplished with color.
e. all of the above.
11. The area on an object that receives the most light is
a. called a shadow.
b. called a cast shadow.
c. usually middle gray or darker.
d. a negative area.
e. called a highlight.
12. The term “closed value pattern”
a. refers to a composition in which the values are not contained within the contours of the objects.
b. refers to a composition in which the values are contained within the contours of the objects.
c. refers to work in which the movement of the light and dark patterns is independent of the subject matter.
d. occurs only in decorative compositions.
e. (a and c)
13. Exaggerated contrasts of value can create
a. ambiguous shapes.
b. areas of harmony.
c. an area of emphasis.
d. areas of flattened surface quality.
e. areas of equally implied visual weight.
14. Achromatic value is
a. used by the artist to create plastic value.
b. used by the artist to create decorative value.
c. created from white to black through grays.
d. lightness or darkness without color
e. all of the above
15. The effect of the relationship of lights and darks within the pictorial area can create
