- 1. he surface detail that tells your eyes what an object would feel like if you touched it
A) Color
B) Material
C) Texture
D) Pattern
- 2. An interlocking repetition of shapes and values
A) Texture
B) Material
C) Color
D) Pattern
- 3. Soft and smooth to the touch, without sharp edges like those in starched cotton or linen, the folds flow gently.
A) Actual Texture
B) Simulated texture
C) Implied Texture
D) Invented Texture
- 4. Creating the illusion of a different texture, Without really producing them, they can represent various surfaces and textures.
A) Invented Texture
B) Simulated texture
C) Implied Texture
D) Actual Texture
- 5. These are surfaces that don't feel uneven or rough when you run your hand over them.
A) Rough
B) Shiny
C) Matte
D) Furry
E) Smooth
- 6. These are sufaces that feel uneven, irregular, or jagged.
A) Matte
B) Shiny
C) Glistening
D) Smooth
E) Rough
- 7. These are sufaces that include extra textural qualities (like smooth or rough), they look dull and lusterless (not shiny).
A) Matte
B) Shiny
C) Furry
D) Rough
E) Smooth
- 8. These are surfaces that have a glossy or highly polished appearance; Highlights that reflect off the surface.
A) Rough
B) Glistening
C) Smooth
D) Matte
E) Shiny
- 9. These are surfaces that has intense highlights, can appear sparkly and occasionally wet.
A) Shiny
B) Glistening
C) Smooth
D) Matte
E) Furry
- 10. These are surfaces that are coarse, long or short, thick or thin, wavy or straight.
A) Smooth
B) Glistening
C) Furry
D) Shiny
E) Matte
- 11. These are textures that are smooth, with soft diffused shadows. It is advisable to use a blending tool to create gradients.
A) Rock and Stone Texture
B) Skin Texture
C) Grass Texture
D) Metal Texture
E) Wood Texture
- 12. The scribbling technique is the most ideal. Keep the pencil moving in circular or scribbling motions to create an organic and bumpy appearance.
A) Skin Texture
B) Fur Texture
C) Wood Texture
D) Rock and Stone Texture
E) Grass Texture
- 13. You make marks that are organically curved to simulate this texture. Apply pressure to its base, bending it upward slightly while exerting less pressure on the tip.
A) Rock and Stone Texture
B) Grass Texture
C) Skin Texture
D) Wood Texture
E) Glass Texture
- 14. For this texture, you will need to draw the grain. The values typically range from rom mid-tones to dark; you can begin by giving the texture a mid-tone value and then erasing any minor highlights. Then, draw in those areas to indicate where the darkest values will be.
A) Skin Texture
B) Metal Texture
C) Wood Texture
D) Rock and Stone Texture
E) Grass Texture
- 15. Use tonal shading to provide a smooth appearance to simulate this texture. To achieve light and shadows, vary the pressure. This texture is a reflective material, therefore the highlights will be very vivid.
A) Grass Texture
B) Skin Texture
C) Glass Texture
D) Rock and Stone Texture
E) Metal Texture
- 16. This is more challenging to depict than other textures as it varies widely. This texture cluster together, so you will need to precisely depict the clumps.
A) Fur Texture
B) Rock and Stone Texture
C) Skin Texture
D) Grass Texture
E) Glass Texture
- 17. The first thing to realize when drawing that is clear is it is actually made up of the things surrounding it and reflecting into it.
A) Skin Texture
B) Rock and Stone Texture
C) Fur Texture
D) Glass Texture
E) Grass Texture
- 18. without sharp edges like those in starched cotton or linen, the folds flow gently. The tonal qualities are more contrasted
A) Smooth flowing
B) Rough and Thick
- 19. texture is heavier and coarser. Due to its weight, the folds are soft and substantial; there are no discernable sharp creases.
A) Rough and Thick
B) Smooth flowing
- 20. This fold occurs when the material’s origin point is compressed or bunched together, producing a string of semi-tubular structures.
A) Zigzag Fold
B) Diaper Fold
C) Half-lock Fold
D) Pipe Fold
E) Spiral Fold
- 21. Pants that bunch up at the back of the knees or the bottom of the legs. The material is being compressed, which causes this to happen.
A) Zigzag Fold
B) Spiral Fold
C) Pipe Fold
D) Diaper Fold
E) Inert Fold
- 22. occur when wrapping material around tubular objects, such as an arm or leg. They frequently appear rolled or bunched-up sleeves.
A) Pipe Fold
B) Spiral Fold
C) Half-lock Fold
D) Zigzag Fold
E) Diaper Fold
- 23. When the direction of the fabric abruptly changes, this type of fold is typically visible on the side of the knees when a person wearing slacks is squatting or sitting.
A) Diaper Fold
B) Inert Fold
C) Half-lock Fold
D) Zigzag Fold
E) Drop Fold
- 24. Frequently found on handkerchiefs and scarves. The sagging material between two support joints, the amount of sag will depend on the amount of fabric and the spacing between the support joints.
A) Diaper Fold
B) Half-lock Fold
C) Spiral Fold
D) Pipe Fold
E) Zigzag Fold
- 25. When a fabric drops off a form to hang freely, like a towel hanging on a hook, drop folds frequently happen.
A) Half-lock Fold
B) Inert Fold
C) Pipe Fold
D) Spiral Fold
E) Drop Fold
- 26. These are pretty much random folds. It happens when a piece of fabric is dropped free onto a surface.
A) Inert Fold
B) Pipe Fold
C) Half-lock Fold
D) Drop Fold
E) Spiral Fold
- 27. Its primary features are precision, intensity, and performance. When using this medium, must decide immediately and be certain of what you are doing—you cannot change your mind halfway through.
A) Colored Pencils
B) Pen and Ink
C) Push or Dip Pens
D) Graphic Pens
E) Charcoal
- 28. These provide a uniform black line and are available in various thicknesses: 0.1, 0.5, 0.8, and so on. Typically, you will just need two (2) line pens: one very fine and one approximately twice as thick.
A) Charcoal
B) Colored Pencils
C) Graphic Pens
D) Push or Dip Pens
E) Pen and Ink
- 29. This pen, when used with Indian ink, is more flexible than the graphic drawing pen and allows you to modify the width of your lines simply by changing the pressure. Some pen nibs are quite flexible, while others are firmer, but you'll need a variety of them, ranging from the finest tip to a more flexible but thicker point.
A) Graphic Pens
B) Charcoal
C) Push or Dip Pens
D) Colored Pencils
E) Pen and Ink
- 30. is essentially burned wood and it is available in stick form, differing from graphite in its application and texture.
A) Graphic Pens
B) Push or Dip Pens
C) Charcoal
D) Colored Pencils
E) Pen and Ink
- 31. A waxy pigment is used in the core of a wooden pencil. They are hard-edged, dry media that allow an artist to jump throughout their work.
A) Colored Pencils
B) Charcoal
C) Push or Dip Pens
D) Pen and Ink
E) Graphic Pens
- 32. Use artist-quality colors that are resistant to fading while working with this type of media. Regular paper will not hold water; therefore, use premium watercolor paper or illustration board.
A) Charcoal
B) Wax Pastels
C) Colored Pencils
D) Water Soluble
E) Watercolor Pencils
- 33. It is, in essence, a water-soluble crayon. When drawing, it seems like a standard crayon, but the wax dissolves when brushed with plain water.
A) Charcoal
B) Wax Pastels
C) Colored Pencils
D) Push or Dip Pens
E) Watercolor Pencils
- 34. The pencil's core is tougher than a crayon and sharpens to a fine point, allowing it to sketch detailed things. Because it does not flow as freely, it uses a brush to introduce blending.
A) Colored Pencils
B) Charcoal
C) Watercolor Pencils
D) Water Soluble
E) Wax Pastels
- 35. When drawing fur, there are more constrast between light and dark values if the metal you have selected to sketch is particularly reflective.
A) False
B) True
- 36. When drawing metal, a blending stump would only ruin the drawing when smoothing the transistions from light to dark sections, and make it difficult to obtain soft edges.
A) True
B) False
- 37. In drawing wood, you may work around the shadows by highlighting certain regions and adding shade to the mid-tone.
A) False
B) True
- 38. When drawing grass, it's best to draw the grass blades in clumps in a consistent manner.
A) True
B) False
- 39. Which drawing technique works best in shading and enhancing shadows?
A) Hatching
B) Scribbling
C) Blending
D) Cross-Hatching
- 40. When creating organic texture, you can use rapid sweeping strokes; follow your intuition.
A) True
B) False
- 41. When drawing skin texture, apply less pressure, then gradually increase it while lifting highlights from areas that are reflecting light with a regular eraser.
A) False
B) True
- 42. An example of furry texture.
A) Porcelain
B) Surface of a peach
C) sun's light on still water
D) Sandpaper
E) Untreated wood
- 43. An example of a smooth texture.
A) cheese grater
B) Petals of a rose
C) Newborn baby's head hair
D) metal
E) surface of the eye when you're about to cry
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