Odisha CHSE +2 Vocational Applied Art cheat sheet

Elements of design are line, shape, form, space, texture, value and colour; principles are balance, rhythm, emphasis, proportion, unity, contrast and movement.

Line has five measurable properties: length, width, direction, curvature and character (straight, angular or flowing).

Shape is two-dimensional and encloses area; form is three-dimensional and encloses volume with length, width and depth.

Balance is either symmetrical (mirror about a central axis) or asymmetrical (equal visual weight from unequal forms); radial balance arranges elements around a centre point.

Rhythm is produced by repetition, alternation, gradation or radiation of a motif at regular or progressive intervals.

Proportion compares part to part or part to whole; the golden ratio 1:1.618 is a classical proportion applied to rectangles and figure drawing.

Emphasis creates a focal point by contrast of value, size, colour saturation, isolation or placement at a converging point.

Unity is achieved through repetition, proximity, alignment or a dominant colour; excessive contrast destroys unity and creates visual noise.

Positive space is occupied by the subject; negative space is the intervening ground, and a balanced composition treats both as designed areas.

Standard drawing pencils grade from 9H (hardest, lightest) through HB to 9B (softest, darkest); HB suits construction lines, 2B-4B suit shading.

Relative proportions of the human figure use head units: an adult is about 7.5 heads tall, the midpoint of the body falls at the crotch, and the elbow aligns with the waist.

One-point perspective has a single vanishing point on the horizon; two-point perspective uses two points on the horizon and shows a vertical corner edge nearest the viewer.

Three-point perspective adds a third vanishing point far above or below the horizon to render extreme height or depth.

Horizon line equals the viewer's eye level; all horizontal receding edges converge on it, and objects below eye level show their top surfaces.

Foreshortening compresses a form along the axis pointing toward the viewer; a limb aimed at the eye appears shorter, not narrower.

Gesture drawing captures action and axis lines in under two minutes; contour drawing traces the outer edge slowly without lifting the pencil.

Ellipses in perspective: a circle viewed at an angle becomes an ellipse whose minor axis points to the vanishing point; the more the tilt, the rounder the ellipse.

Cross-hatching builds value with intersecting sets of parallel strokes; the denser the crossing angle, the darker the resulting tone.

Pigment primaries are cyan, magenta and yellow (subtractive); light primaries are red, green and blue (additive); mixing all three additive primaries gives white.

Secondary colours mix two primaries (orange, green, violet); tertiary colours mix a primary with an adjacent secondary.

Complementary colours sit opposite on the colour wheel and neutralise each other when mixed, producing greys and browns rather than a bright hue.

Hue is the colour family name, value is lightness or darkness, and saturation (chroma) is purity or greyness; a tint adds white, a shade adds black, a tone adds grey.

Warm colours (red, orange, yellow) appear to advance; cool colours (blue, green, violet) appear to recede, which artists use to create depth.

Simultaneous contrast: a colour appears lighter against a dark surround and darker against a light surround; grey looks warm beside blue and cool beside orange.

Successive contrast is the afterimage effect; staring at red then looking at white produces a green afterimage, the complementary hue.

Colour schemes: monochromatic (one hue, varied value), analogous (adjacent hues), complementary (opposite), split-complementary (a hue plus the two neighbours of its opposite), triadic (three evenly spaced hues).

Printing uses CMYK subtractive inks; screens use RGB additive light; hex codes such as #FF0000 denote red in web colour.

Type anatomy: baseline is the line letters sit on; x-height is the height of lowercase letters; ascender rises above x-height; descender falls below baseline; cap height is the height of capitals.

Serif faces have finishing strokes at stem ends; sans serif faces lack them; slab serifs are thick and block-like; script faces imitate handwriting.

Font is one specific design (Helvetica Bold); typeface is the family; a type family groups weights and styles under one design.

Kerning adjusts space between individual letter pairs; tracking adjusts uniform spacing across a whole word or line; leading is the vertical line spacing.

Measure is line length; 45-75 characters per line is the comfortable reading range for body text.

Point size measures type in points (about 1/72 inch); pica equals 12 points and is used for line and column measurement.

Lettering differs from type: each letter is drawn by hand to fit a space, so spacing is optically adjusted rather than mechanically set.

Roman capitals are built on a skeleton of straight stems and curved bowls; the O is drawn slightly wider than tall to appear circular.

Hierarchy in typography is created by size, weight, case, colour and position; contrast of weight is more legible than contrast of size alone.

The design process runs brief, research, thumbnails, roughs, comprehensive layout, artwork and production; thumbnails are small rapid idea sketches.

A layout grid divides the format into columns, margins, gutters and modules; the gutter is the space between columns.

Visual hierarchy orders elements by size, contrast, isolation and position so the eye reads message first, then detail.

Logo types: wordmark (text only), lettermark (initials), pictorial mark (recognisable image), abstract mark, mascot and emblem (text enclosed in a symbol).

Advertising appeals divide into rational (features, price, proof) and emotional (fear, humour, belonging, aspiration); a call to action states the next step.

AIDA is the classic advertising sequence: Attention, Interest, Desire, Action.

Poster design depends on legibility at distance: limit text, use high value contrast, and place the headline in the upper or central visual field.

Packaging must carry legal information (product name, quantity, ingredients, manufacturer, warnings) alongside brand identity.

Copy and image must reinforce one message; a headline that repeats the image wastes the strongest contrast in the layout.

Pattachitra is a cloth-based scroll painting from Raghurajpur and Puri; the cloth is treated with tamarind-seed paste and chalk before painting with natural pigments.

Pattachitra conventions: bold black outlines, profile faces with large eyes, no perspective, and a decorative border; themes centre on Jagannath, Vaishnava legends and the Gita Govinda.

Palm-leaf etching (talapatra) incises lines into dried palm leaves, then fills them with black soot and oil; it is an old Odishan manuscript tradition.

Patachitra painters are called chitrakars; the traditional women singers of the scroll narratives are known as maharis in temple context and the scroll-singing tradition accompanies the painted scrolls.

Jagannath triad at Puri comprises Jagannath, Balabhadra and Subhadra, carved in wood and painted with large round eyes; the forms are aniconic stumps rather than fully modelled figures.

Chandua is an appliqué canopy of cloth, traditionally hung above the deity, made by stitching coloured fabric shapes onto a base cloth.

Dokra is lost-wax bell-metal casting practised in Odisha and neighbouring regions, producing tribal figures and animals; the wax model is destroyed in casting.

Saura painting from the Rayagada and Koraput region uses a red or brown background with white line figures and geometric motifs, painted on mud walls by the Saura community.

Odissi dance and its temple sculpture share the tribhanga (three-bend) posture, and temple reliefs at Konark and Bhubaneswar are primary references for Odishan figure drawing.

Indus Valley artefacts include the bronze Dancing Girl of Mohenjo-daro and the steatite Priest-King, plus seals with animal motifs and undeciphered script.

Mauryan art: Ashokan pillars with bell capitals and animal finials, the Sarnath lion capital (adopted as the national emblem), and the abacus with wheel and animal figures.

Sanchi Stupa Great Stupa dates from the Mauryan period with later additions; its gateways (toranas) carry Jataka narratives carved in low relief.

Ajanta caves contain Buddhist murals in tempera-like technique; the Bodhisattva Padmapani figure in Cave 1 is a standard reference for classical Indian painting.

Gupta period sculpture at Sarnath and Mathura is noted for refined modelling and the transparent clinging drapery of the Buddha image.

Mughal painting: Akbar's atelier produced illustrated manuscripts with crowded narrative scenes; Jahangir's period favoured portraiture and natural history with finer detail.

Rajasthani and Pahari miniatures use flat colour fields, profile faces and hierarchical scale; Kishangarh is known for the elongated Bani Thani profile.

Company painting arose from Indian artists working for European patrons, blending miniature technique with European perspective and watercolour.

Rasa theory from the Natyashastra defines nine rasas (shringara, hasya, karuna, raudra, veera, bhayanaka, bibhatsa, adbhuta, shanta) as the aesthetic emotions a work evokes.

Raster images store pixels on a fixed grid; vector images store mathematical paths and scale without loss of quality.

Resolution in print is measured in DPI/PPI; 300 ppi at final size is the standard for press images, while 72 ppi suits screen display.

RGB is the additive screen model with a 0-255 value per channel; CMYK is the subtractive print model with 0-100 percentages per ink.

A vector path is defined by anchor points and Bezier handles; a closed path can be filled, an open path can only be stroked.

Layer order determines stacking; a clipping mask reveals only the area of the shape placed above the artwork, and a layer mask hides by greyscale value.

File formats: PSD keeps layers for editing; TIFF is lossless for print; JPEG is lossy compression; PNG supports transparency; SVG is scalable vector for web; PDF is the standard press delivery format.

Bleed is extra artwork beyond the trim edge (commonly 3 mm) that is cut away; the safe area keeps text away from the trim.

A digital colour proof is not a contract proof; press approval should rely on a calibrated proof or the printer's certified proof.

Non-destructive editing keeps the original pixels intact through adjustment layers, smart objects and masks rather than direct destructive erasing.

Natural pigments in Odishan painting: hingul (vermilion red), haritala (yellow orpiment), sankha (conch white), lampblack, and vegetable greens; gum arabic or tamarind seed binds them.

Handmade paper and cloth are primed with a chalk or tamarind paste ground so pigment does not bleed into the fibre.

Plaster of Paris casts are made by mixing powder with water to a smooth paste and pouring into a mould coated with a release agent; the mix sets by hydration.

Clay bodies are classified as earthenware (low fire, porous), stoneware (higher fire, vitrified) and porcelain (fine, white, high fire); leather-hard is the stage for trimming.

Terracotta firing: bisque firing precedes glaze firing; rapid heating causes steam explosions, so greenware must be bone dry before firing.

Solvents: turpentine thins oil paint and varnish; water thins acrylic and gouache; never mix solvent-based and water-based residues in one container.

Brush care: synthetic brushes suit acrylic and watercolour, natural hair suits oil and gouache; wash immediately after use and dry flat to protect the ferrule.

Studio safety: keep ventilation for solvent and spray work, store flammable thinners in metal cabinets, and label all containers; lead-based pigments require gloves.

Conservation basics: mount artworks on acid-free board, avoid direct sunlight and damp, and handle prints by the edges to prevent skin oils damaging the paper.