- 1. he surface detail that tells your eyes what an object would feel like if you touched it
A) Pattern
B) Color
C) Texture
D) Material
- 2. An interlocking repetition of shapes and values
A) Pattern
B) Color
C) Texture
D) Material
- 3. Soft and smooth to the touch, without sharp edges like those in starched cotton or linen, the folds flow gently.
A) Invented Texture
B) Simulated texture
C) Implied Texture
D) Actual Texture
- 4. Creating the illusion of a different texture, Without really producing them, they can represent various surfaces and textures.
A) Simulated texture
B) Implied Texture
C) Actual Texture
D) Invented Texture
- 5. These are surfaces that don't feel uneven or rough when you run your hand over them.
A) Shiny
B) Matte
C) Smooth
D) Furry
E) Rough
- 6. These are sufaces that feel uneven, irregular, or jagged.
A) Smooth
B) Shiny
C) Rough
D) Glistening
E) Matte
- 7. These are sufaces that include extra textural qualities (like smooth or rough), they look dull and lusterless (not shiny).
A) Rough
B) Furry
C) Smooth
D) Shiny
E) Matte
- 8. These are surfaces that have a glossy or highly polished appearance; Highlights that reflect off the surface.
A) Rough
B) Matte
C) Glistening
D) Smooth
E) Shiny
- 9. These are surfaces that has intense highlights, can appear sparkly and occasionally wet.
A) Matte
B) Smooth
C) Furry
D) Glistening
E) Shiny
- 10. These are surfaces that are coarse, long or short, thick or thin, wavy or straight.
A) Glistening
B) Matte
C) Smooth
D) Shiny
E) Furry
- 11. These are textures that are smooth, with soft diffused shadows. It is advisable to use a blending tool to create gradients.
A) Skin Texture
B) Metal Texture
C) Wood Texture
D) Grass Texture
E) Rock and Stone 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) Wood Texture
C) Fur Texture
D) Grass Texture
E) Rock and Stone 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) Skin Texture
C) Wood Texture
D) Glass Texture
E) Grass 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) Grass Texture
D) Rock and Stone Texture
E) Wood 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) Rock and Stone Texture
B) Metal Texture
C) Glass Texture
D) Skin Texture
E) Grass 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) Glass Texture
B) Fur Texture
C) Grass Texture
D) Rock and Stone Texture
E) Skin 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) Rough and Thick
B) Smooth flowing
- 19. texture is heavier and coarser. Due to its weight, the folds are soft and substantial; there are no discernable sharp creases.
A) Smooth flowing
B) Rough and Thick
- 20. This fold occurs when the material’s origin point is compressed or bunched together, producing a string of semi-tubular structures.
A) Half-lock Fold
B) Diaper Fold
C) Spiral Fold
D) Zigzag Fold
E) Pipe 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) Spiral Fold
B) Inert Fold
C) Zigzag Fold
D) Diaper Fold
E) Pipe Fold
- 22. occur when wrapping material around tubular objects, such as an arm or leg. They frequently appear rolled or bunched-up sleeves.
A) Half-lock Fold
B) Spiral Fold
C) Diaper Fold
D) Pipe Fold
E) Zigzag 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) Zigzag Fold
B) Drop Fold
C) Diaper Fold
D) Half-lock Fold
E) Inert 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) Pipe Fold
B) Half-lock Fold
C) Diaper Fold
D) Zigzag Fold
E) Spiral Fold
- 25. When a fabric drops off a form to hang freely, like a towel hanging on a hook, drop folds frequently happen.
A) Spiral Fold
B) Drop Fold
C) Pipe Fold
D) Half-lock Fold
E) Inert 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) Drop Fold
C) Spiral Fold
D) Pipe Fold
E) Half-lock 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) Charcoal
C) Graphic Pens
D) Pen and Ink
E) Push or Dip Pens
- 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) Colored Pencils
B) Push or Dip Pens
C) Charcoal
D) Graphic 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) Charcoal
B) Pen and Ink
C) Push or Dip Pens
D) Colored Pencils
E) Graphic Pens
- 30. is essentially burned wood and it is available in stick form, differing from graphite in its application and texture.
A) Push or Dip Pens
B) Charcoal
C) Pen and Ink
D) Graphic Pens
E) Colored Pencils
- 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) Pen and Ink
B) Push or Dip Pens
C) Colored Pencils
D) Graphic Pens
E) Charcoal
- 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) Water Soluble
D) Watercolor Pencils
E) Colored 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) Colored Pencils
B) Charcoal
C) Watercolor Pencils
D) Wax Pastels
E) Push or Dip Pens
- 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) Charcoal
B) Colored Pencils
C) Watercolor Pencils
D) Wax Pastels
E) Water Soluble
- 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) True
B) False
- 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) Cross-Hatching
B) Hatching
C) Scribbling
D) Blending
- 40. When creating organic texture, you can use rapid sweeping strokes; follow your intuition.
A) False
B) True
- 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) Surface of a peach
B) sun's light on still water
C) Untreated wood
D) Porcelain
E) Sandpaper
- 43. An example of a smooth texture.
A) cheese grater
B) surface of the eye when you're about to cry
C) Newborn baby's head hair
D) metal
E) Petals of a rose
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