Art Fundamentals - Core Concepts in Art/Art Fundamentals: Core Concepts in Art.iso/mac/fund_ch.dxr/00279_Text_Chapter6.txt

Text File | 2001-07-16 | 4KB | 90 lines

6-1. Texture. color, value, shape, and mass exist
a. only in nature.
b. only in works of art.
c. exclusively in themselves.
d. together only in pairs.
e. in a state of constant interaction.
2. The surface feel of an object is called _________.
a. actual texture
b. simulated texture
c. invented texture
d. abstract texture
e. paint quality.
3. On foggy days……….
a. we find softened details and textures and lightened values.
b. we find that the texture on closer objects is more distinct.
c. we find reduced value contrasts in the texture.
d. we experience all of the above as atmospheric perspective.
e. we are forced to increase highway speeds to compensate for those slower motorists with less driving skill.
4. While collage might involve paper and materials on a picture plane, assemblage deals with
a. individual bulky items.
b. more “three-dimensional items”.
c. items not limited to wall presentations.
d. found objects without alteration.
e. all of the above.
5. An artist creating trompe l’oeil images would probably be involved with
a. invented textures.
b. simulated textures.
c. assemblage.
d. collage.
e. abstract texture.
6. Natural texture may be
a. found in simulated images.
b. found in collage.
c. may be found in assemblages
d. are seldom the inspiration for abstracted texture
e. both b and c
7. Texture may be said to be
a. experienced best through achromatic value.
b. experienced best through touch or by simulation.
c. produced by natural forces.
d. produced by an artists manipulation of the art elements.
e. (b, c, and d).
8.The physical massing of paint on van Gogh’s canvasses creates surface richness through
a. actual texture.
b. invented texture.
c. abstracted texture.
d. simulated texture.
e. illusionism.
9. Textural elements can contribute to harmony
a. when their dissimilarity is increased.
b. when they function as areas of accent.
c. when the textural quality is elaborated or enriched from area to area.
d. when the textures share the same surface pattern, color, value or intensity level.
e. when rough texture is contrasted with smooth texture from the same source.
10. A convincing copy or translation of an object’s texture regardless of the medium
a. has as its source the imagination of the artist.
b. starts with a three-dimensional tree and ends with a two-dimensional illusion of the tree.
c. uses textures that are rearranged or simplified to satisfy the needs of the artist.
d. is a simulated texture.
e. both b and d.
11. In an asymmetrically balanced composition the use of texture
a. could be used to establish compositional equilibrium.
b. will have little or limited bearing on the balance of the composition unless adjusted by color.
c. is only used in simulated or trompe l’oeil compositions.
d. is not involved if the composition is non-objective.
e. cannot make an area become dominant.
12. If an artist applies sand to a painting, he or she is
a. creating an abstract texture.
b. working with simulated texture.
c. creating an invented texture.
d. creating an objective texture that will fool the eye.
e. using an actual texture to add richness of paint quality.
13. Texture is an unusual element because
a. it is most effective if rendered in varying line.
b. it elicits visual and tactile sensory responses.
c. it can’t be used to make an area dominant.
d. its creation requires repetition making texture and rhythm inseparable.
e. when painting white on white, all texture disappears.
14. Since texture is interpreted by light and dark, there is a fine line between texture and pattern because
a. every texture reveals a pattern but not every pattern has a texture.
b. paisley designs on a silk tie have limited texture.
c. rows of corn from a great distance reveal the farmer’s planting pattern.
d. as the corn field is approached, the pattern of the field is less obvious.
e. all of the above are applicable.
15. Texture can draw emotional responses through association
a. and the phrase “slippery as snakes” can create a response without any texture.
b. and simulated texture of wet snake skin could cause emotional response without dialogue.
c. and the response depends on the viewer’s past experiences with similar texture.
d. and an abstract texture works well if it can become a symbol for a texture known to the viewer.
e. all of the above are correct.