TExES Art EC-12 178 cheat sheet

Elements of art: line, shape, form, color, value, texture, and space; shape is two-dimensional, while form is three-dimensional and encloses volume.

Principles of design: balance (symmetrical, asymmetrical, radial), emphasis, contrast, movement, pattern, rhythm, unity, variety, proportion, and scale.

Color attributes: hue is the color name, value is lightness or darkness, and intensity (chroma) is saturation; traditional pigment primaries are red, yellow, and blue.

Color schemes: monochromatic uses one hue plus tints and shades; analogous uses adjacent hues; complementary uses opposites; triadic uses three evenly spaced hues; split-complementary uses one hue and the two neighbors of its complement.

Drawing media include graphite, charcoal, conte, pastel, and ink; fixative reduces smudging, and charcoal and pastel need paper tooth to adhere.

Painting techniques: impasto applies thick paint; scumbling applies a thin, broken opaque layer over dry paint; glazing applies transparent layers over dry opaque passages.

Printmaking categories: relief (woodcut, linocut), intaglio (etching, drypoint), planographic (lithography), and stencil (silkscreen); relief and intaglio matrices produce reversed images.

Ceramics construction methods: pinch, coil, and slab; leather-hard clay is joined with slip and score; bisque firing precedes glaze firing, and glaze maturity depends on cone temperature.

Studio safety rule: use local exhaust ventilation with solvents, aerosols, and kilns; wear NIOSH-approved dust masks for clay and silica dust; keep food and drink out of the studio; store acids and flammable solvents separately.

Prehistoric art: Lascaux and Altamira cave paintings use earth pigments and charcoal for animal imagery; Venus figurines emphasize fertility and exaggerated anatomy.

Ancient Egypt: canonical proportions and the composite view appear in painting and relief; figures are sized by social rank, and tomb art served the afterlife.

Greek pottery: black-figure uses black slip on red clay with incised detail; red-figure reverses the scheme and permits painted internal detail.

Medieval art: Byzantine icons use gold grounds and frontal figures; Gothic architecture uses pointed arches, rib vaults, flying buttresses, and stained glass.

Renaissance: Brunelleschi formulated linear perspective; Leonardo used sfumato and chiaroscuro; Michelangelo and Raphael emphasized idealized human form and classical balance.

Baroque: Caravaggio's tenebrism and dramatic diagonals; Bernini's dynamic sculpture; Dutch Golden Age genre, still life, and portraiture.

Modern movements: Impressionism (light and optical color), Post-Impressionism (structure and expression), Cubism (fragmented multiple views), Dada (readymades), Surrealism (dream imagery), Abstract Expressionism (gesture and field), Pop Art (mass media).

Global influences: Japanese ukiyo-e prints shaped Impressionist composition; African masks influenced Cubism; Islamic art uses geometric and arabesque patterns and generally avoids figural imagery in religious contexts; Chinese ink painting emphasizes brushwork and landscape.

Feldman model sequence: description (what is visible), analysis (how elements and principles are organized), interpretation (meaning and expressive content), judgment (evaluation against stated criteria).

Description records subject, medium, size, and recognizable details without judgment; analysis identifies elements and principles and their relationships.

Interpretation proposes meaning supported by visual evidence, context, and artist intent; multiple interpretations can be valid if evidence-based.

Aesthetic theories: mimetic (imitation), expressive (emotion), formalist (significant form), instrumentalist (social or political function), and institutional (artworld status).

Criticism vocabulary: representational or objective art depicts recognizable subjects; abstract art simplifies or distorts them; nonobjective art has no recognizable subject.

Judgment criteria may include craftsmanship, composition, originality, expressive power, and cultural significance; criteria must be stated and applied consistently.

Clement Greenberg is associated with formalism; Arthur Danto and George Dickie with the institutional theory; Suzanne Langer with expressive and symbolic aesthetics.

National Core Arts Standards visual arts processes: Creating, Presenting, Responding, and Connecting; each includes enduring understandings, essential questions, and grade-level performance indicators.

Texas art TEKS strands: perception; creative expression and performance; historical and cultural heritage; critical evaluation and response; the strands are integrated rather than taught in isolation.

Backward design stages: identify desired results, determine acceptable evidence, and plan learning experiences and instruction.

DBAE integrates four disciplines: art production, art history, art criticism, and aesthetics; it emphasizes sequenced, written curricula and substantive content.

Bloom's revised taxonomy order: remember, understand, apply, analyze, evaluate, and create; art tasks can target any level, with create at the top.

Assessment types: formative (ongoing feedback), summative (end-of-unit evaluation), diagnostic (pre-assessment), performance-based (authentic tasks), and portfolio (longitudinal evidence).

Rubric types: analytic scores criteria separately; holistic assigns one overall score; rubrics should state criteria and performance levels before students begin work.

Instructional approaches: differentiated instruction adjusts content, process, and product; choice-based or TAB classrooms use studio centers and student-directed projects; teacher demonstrations teach media and safety.