S11CPAR

FINALS REVIEWER

I.
How Art is Experienced
1. ARTIFACT
- Directly experienced or perceived
2. RECORDED
- Indirectly or through a medium
- Film or video
3. TIME-BASED
- Received or perceived live or directly
in time
- Theatre performance, live painting
4. VIRTUAL
- Work does not exist in a physical
form or in an actual location, but is
perceptible

II.
Painting Genres
1. LANDSCAPE PAINTING
- Principal content: scenic view
2. STILL LIFE PAINTING
- Depicting mostly inanimate subject
matter
3. PORTRAIT PAINTING
- Depicting a human subject

III.
Drawing Techniques
1. Hatching
////
2. Cross-hatching XXXX
3. Scribbling

4. Pointillism

5. Stippling

6. Tonal Value
hehehehehe

IV.
Acrylic Painting Techniques
1. DRY BRUSH
- Paint is undiluted by water
- Strong current of color
2. WASHING
- Treats acrylic like watercolor
- Acrylic will set permanently
3. POINTILLISM
- Various tiny paint dots
- Creates depth and texture
4. IMPASTO
- Uses palette knife to scrape up a bit
of paint

V.

5. FLICKING
- Uses fairly wet brush to flick paint
- Creates uneven splatter effect
6. DABBING
- Uses sponge or paper towel to dab
on accents of color
Elements of Art
Building blocks;
Together they form other things

1. LINE
- Mark made between two points
- Two-dimensional; any direction;
straight or curved
- PERSPECTIVE creates an illusion of
space on a flat surface; represents a
3D object on a 2D surface
realistic, natural
2. COLOR
- Result when light hits an object
- Perceived visual and physical
properties are seen by the human
eye
- HUE color
SATURATION intensity, dominance
of hue in the color
DESATURATED color is dulled
down
- COLOR SCHEMES:
COMPLEMENTARY colors
opposite on the color wheel
ANALOGOUS groups of three
colors next to each other on the
color wheel; often seen in
nature, pleasing to the eye
TRIADIC colors evenly spaced
out or in equal distance on the
color wheel
SPLIT COMPLEMENTARY
variation of complementary
scheme; forms a thin triangle
TETRADIC forms a rectangle
SQUARE uses four colors;
evenly spaced out, two blocks
away from one another

3.

4.

5.

6.

7.

Representational element in
paintings
DALAGANG BUKID by Fernando
Amorsolo; uses CHIAROSCURO
(light to dark, vice versa)
RIVER OF LIFE by Galo Ocampo;
depicts a purgatorian hell
VALUE
- Lightness and darkness of an object
- Effect of light and shade in a picture
- GRADIENT change in a value of a
quantity in a variable per unit
distance in a direction
- Creates the illusion of light with
highlights and shadows which create
the illusion of a light source (no light
source, no illusion)
- TINTS light values
SHADES dark values
HIGHLIGHTS areas where light is
SPACE
- Emptiness or area around or within
objects
- NEGATIVE SPACE black or dark;
area around the object
POSITIVE SPACE white or light;
part of artwork that takes up space
TEXTURE
- How something feels or looks like it
would feel if you could touch it
- REAL actually felt; sculpture
IMPLIED paints or draws texture,
artificial
SHAPE
- Two-dimensional
- Flat enclosed area
- GEOMETRIC clear edges; circles,
rectangles, squares
ORGANIC natural, less well-defined
edges; amoeba, clouds
- STATIONS OF THE CROSS by Vicente
Manansala; SDA BUILDING DLS-CSB
FORMS
- Three-dimensional
- With length, width, and depth
- Cone, cube, sphere, cylinder, box,
pyramid

VI.

Principles of Design/Composition
COMPOSITION
- Relationship between figures and
elements
- Used to arrange or organize the
visual components pleasing to
the artist and viewer
- Rules are purposely broken by
artists sometimes
- PRINCIPLES:
BALANCE sense that the
artwork feels right and not
heavier on one side;
SYMMETRICAL (equal weight on
both sides), ASYMMETRICAL
(placement of varying weight),
and RADIAL (arranged in a
common center)
EMPHASIS center of interest or
focal point
MOVEMENT path where the
viewers eye takes through the
artwork
UNITY all elements are
synchronized within the
composition that gives meaning;
attractive whole or visual
orderliness
CONTRAST arrangements of
two or more opposite elements
CHIAROSCURO strong
contrasting light and shadow
from one direction in a painting
for drawing; Italian: light-dark
TENEBRISM predominantly
dark tones over light for
dramatic effect
HARMONY visually satisfying
effect of combining similar or
related elements
REPETITION repeated use of an
element
RHYTHM underlying beat that
leads your eye to view the
artwork at a certain pace

VII.

Themes and Subject Matter

1. SUBJECT MATTER
- Branch of knowledge
- What the concept is all about
- Broader topic, appropriate to the
audience
2. THEME
- Main idea, central point
- What an artist wants to
communicate with the audience
- Moral lesson of the story
3. EXAMPLES
- A CHRISTMAS CAROL by Charles
Dickens
Subject matter: Christmas
Theme: giving, being unselfish
- LAS VIRGENES CRISTIANAS
EXPUESTAS AL POPULACHO
Subject matter: Christian
persecution in Ancient Rome
Theme: tyranny, oppression,
abuses
4. WAYS OF REPRESENTING SUBJECT AND
THEME
- REPRESENTATIONAL uses signs
that stand for and take place of
something else; realistic or stylized
- FIGURATIVE uses human or
human-like forms
- NON-FIGURATIVE does not
represent actual or natural objects
or realities

- REALISM things are depicted in the
way they would normally appear in
nature
- EXPRESSIONISM reflects emotional
and/or psychological state of the
artist by making distorted or
exaggerated art
- ABSTRACT uses shape, form, color,
and line to create a composition
- STYLIZED represented in a nonnaturalistic conventional form;
exaggerates art elements
- COLLAGE made from assemblage
of different materials

VIII.

SURREALISM realism + distortion;

composes dreamlike scenes showing
an irrational arrangement of objects;
images are recognizable but
combined with fantastic and
unnatural relationships

Film
A series of still images shown on screen;
Optical illusion of perceiving series of still
images

1. PRE-PRODUCTION
- Point person: producer, director
Conceptualization
Research, writing, storyboarding
Casting, location hunt,
production design
Production management, legal,
permits, budget, schedule
- SCRIPTWRITING art and craft of
writing scripts for mass media
SCREENPLAY making the script of a
movie, including acting instructions
and scene directions
- WRITING AND DEVELOPMENT
Brainstorming of a story, rights
to books/plays (adaptation), etc
Writing screenplay (plot or
character driven)
Script breakdown, locations,
casting, scenes
Budgeting, scheduling, legalities
with copyright
Signing the cast and crew
insurance
- MONOLOGUE speech by one
person
DIALOGUE conversation between
two or more people; TRIALOGUE by
three people
- STORYBOARDS drawings made for
pre-visualizing film, performance art,
or animation
2. PRODUCTION
- PRINCIPAL PHOTOGRAPHY the
movie is filmed with actors on set
and cameras rolling

CAST AND CREW

Director, producer, line producer
o Visualization and
interpretation
o Selection, rehearsing,
blocking
o Cinematography, shooting
o Visual/sound integration,
recording
Storyboard artist
o Creates visual images
displayed in sequence for
pre-visualizing
Assistant directors (AD)
o Helps in organizing, planning,
and everything
o Unit production manager
and location manager
Production designer
o In-charge of overall visual
look of production
o Costume designer, makeup
and hair designer
Casting director
o Responsible for looking roles
o Choreographer, etc
Director of photography (DOP)
o Heads camera crew in the
artistic and technical
decisions
Production and sound mixer
o Takes care of the sound
department
o Sound designer and
composer
CINEMATOGRAPHY art of making
motion pictures
Framing the shot
o A shot is considered changed
once there is cut or change
in the framing and
compositional elements
o Shot + shot = scene
Scene + scene = sequence
Sequence + sequence =
whole visual narrative

Elements of framing
o Shot sizes
o Angles
o Camera movements
o Compositional styles
Camera angles
o BIRDS EYE elevated view of
an object above; aerial
commercial and landscape
images; usually in disaster
movies
o HIGH ANGLE looks upon a
subject; shows a perspective
of a character
o EYE-LEVEL most commonly
used angle
o WORMS EYE/LOW ANGLE
view scene from below, low
or inferior positions;
sometimes involves gigantic
elements
o DUTCH ANGLE camera is
slanted to one side
o POINT-OF-VIEW (POV) first
person shot as if the viewer
is looking through the eyes of
a character
o CLOSE UP SHOT subject
takes up most of the frame;
creates heightened emotion
and atmosphere
Camera movements
o APPARENT MOVEMENT
zoom in, zoom out
o PHYSICAL MOVEMENT
mounted on a device or
handheld; pan, tilt
Compositional styles
o 180-degree rule of
consistency (semicircle)
o Rule of thirds (grid)
o Counterpoint (triangle)
o Leading lines
o Frame within a frame
o Avoiding growths and joints
o Headroom (amount of space
between actor head and top
frame)