Art Terms: A Small Dictionary for Artists

Warm-cold contrast :

Opposition of shades that belong to different thermodynamic groups, but are not necessarily complementary, is usually resolved by graying.

Warm-cold contrast

Qualitative contrast :

Opposition of shades of different qualitative origins: texture contrast: is the basis of " tone on tone " modulation: it is adjusted depending on the expected effect.

Contrast quality

Quantitative contrast :

Ratio of adjusting the brightness and, implicitly, the tonality of some spots by joining them, different in extent.

Quantity contrast

Complementary contrast :

Juxtaposition of complements, to be enhanced by modifying the brilliance (including purity and luminosity) of one or both.

Invoice contrast :

Opposition of different patterns of the same material.

Light-dark contrast :

Opposition resulting from the juxtaposition of colors of different tones or different tones of the same color, as in monochrome vision: it is not the same thing as what was called chiaroscuro , which in its classical essence is based on diminishing the chromatic effect of the local color by accentuating the value one.

Simultaneous contrast :

Opposition perceived as a psychophysiological effect produced by the juxtaposition of two different (and usually pure) spots that, each, simultaneously, " projects " the complement of its own juxtaposition, therefore over the other spot, modifying it in brightness and, implicitly, in tone: it is the most important contrast, because it is difficult to control.

simultaneous contrast

Successive contrast :

Opposition determined by the persistence, for a short time, on the retina, of the complementary spot that "induced" it: a psychological effect that, before this, is always simultaneous contrast.

Chiaroscuro : (Fr. clair-obscure - light dark)

Very old process of suggesting, in painting, volume (relief) by modeling each shape, that is, covering it with the tones of the local color (light, in light and dark, in shadow), hence the name local tone: it is inappropriately applied to works in which the aim was to obtain the same effect through values.

Clear obscure

Open composition :

A compositional modality of romantic origin in which meanings and tensions tend to resolve themselves outside the limits of the composed space; it is not, as it seems, specific to a particular era, let alone our century.

Open composition

Closed composition :

Compositional modality in which the balancing of the main lines of force and tension is achieved within the composite space, these generally having centripetal directions of classical stability.

Dark composition

Gradient :

a) tone or tonal step (similar to a step on the value scale of non-colors) obtained from a tint mixed with white (black);

b) the juxtaposition of several tonal steps of the same color (tints) in the sequence of their increase - decrease (of equal or gradually amplified extents).

Thermo-dynamic effect :

Inherent possibility of colors, linear shapes or spatial shapes to induce the sensation of hot-cold, implicitly the impression of approach-distance, movement, continuous spatial flow, balancing or neutralizing it.

Spatial effect :

The illusion of depth, relief, volume, distance, extension or maintaining the same plane, an illusion created by juxtapositions of warm-cold, pure-broken spots, etc., by crowded-dispersed, large-small dots, or by lines depending on their position relative to the vertical-horizontal lines of the painting.

Intensity : (fr.intensite- strength)

Generic term for the different degrees of brightness of the color: it can be natural or obtained by juxtaposition (it will be greater than the pure tint). The intensity of a color will depend on the tones, shades next to it and also on the size it has in relation to the other spots.

Juxtaposition : (fr.juxtaposer- to place next to)

a) in painting - joining qualitatively and/or quantitatively different spots without any kind of linear and spatial, value or coloristic intermediation, such as in a landscape:

b) way of attenuating or exalting different contrasts.

Modeleu - a) the result obtained from rougher or more vibrated, matte or

glossy etc. of the modeled, carved, polished etc. surface.

b) the effect of volume, of relief, given by the modeling of color, in painting.

Model

Modulation : (fr. modulator – to modify rhythm, frequency, tonality)

Technique of composing proximity and distance, depth, relief through quantitatively and qualitatively varied repetition of the hot-cold, small-large, empty-full ratio, without canceling the effect of surface, plane or, in sculpture, of multiplied volume, but reducible to a unit.

Modulation

Tone-on-tone modulation:

Process of pictorial animation of a surface by repeating pure and broken tints of the same quality, provided that, being analogous, they are also well differentiated in their chromatic intensity in order to harmonize with each other.

Nuance : (fr.nuance- fine difference)

a) result of the physical mixing of two colors, retaining some of the vibrancy and saturation of the one used in greater quantity:

b) paint in a tube or in the form of a tablet which, compared to the spectral color to which it is related, presents some difference, is a pure variation of it.

Tint :

a) type of pigment mixture through which several tints are obtained - as shades of one or more colors taken in pairs, in different quantities;

b) the use of gradual, sometimes imperceptible, or distantly coordinated, shades of one or more pure shades.

Pure tint : (fr. Teinte – kind)

State of quality of the initial, maximum saturation of a pigment; the adjectives: pure, broken, etc. specify as many states of purity of the same quality of color; the initial saturation, unmodified by physical or optical mixing, is the state of pure tint of the respective pigment, the one that gives it its name; other states are: broken tint, flat tint, etc.; used as such, the term is often confused with hue and tone.

Broken awning :

Tint disturbed by modifying its brightness, chromatic charge and implicitly its tone by adding its complement; taken in relatively equal amounts, neutral grays result, and in unequal amounts, broken colors or broken tints; see also broken colors, gray, graying, intensity, tone.

Torn awnings

Value : (lat. Valor – price)

a) degree of brightness of non-colors and, by extension, of colors, always perceived as a ratio, corresponding to the color tone;

b) the level of achievement accepted based on the criteria of art is also called artistic.

Valoration : (fr. valorisation-reliefare)

The result of the process of imitating chiaroscuro through different values ​​of black and white or of rendering the illusion of relief, volume through gradual achromatic transitions from light to dark; work made in hatchings of densities and meanings that suggest different values ​​and surfaces is a valued drawing; similar term in painting and culture: modeleu; v. and hasura