Art 105 Color Theory

Front 1

if you stare at certain color areas for half a minute, then you turn your eyes quickly to a white area and you see the image in its complements, this is an example of

afterimage
delusion
color image
simultaneous contrast

Back 1

afterimage

Front 2

the term for purity, brilliance, or saturation of a color is

tertiary
hue
intensity
value

Back 2

intensity

Front 3

the tendency of our eyes and brain to complete visual information is called

afterimage
simultaneous contrast
pointillism
optical color mixture

Back 3

optical color mixture

Front 4

why is the bauhaus significant for color theory students?

Back 4

contemporary methods of studying color and design stem from the bauhaus

Front 5

why did many european artists begin to apply color subjectively around the 1850's?

Back 5

the invention of the camera allowed them freedom

Front 6

art deco consists mostly of

Back 6

geometric shapes

Front 7

warm colors tend to feel ____ and cool colors tend to feel _____

light, heavy
earthly, otherworldly,
closer, dry
calming, stimulating

Back 7

earthly, otherworldly

Front 8

art noveau was mostly inspired by

Back 8

forms in nature

Front 9

the ways that color affect us is influenced by

Back 9

*our primal experiences as human beings in the wild
*the way our eye perceives
*the culture we live in

Front 10

what would be the best color to choose for decor if you want to be in a relaxing environment?

red-orange
blue-green
yellow
red-violet

Back 10

blue-green

Front 11

T or F:

the surroundings of a hue do not affect how we see it

Back 11

false

Front 12

T or F:

the color wheel represents the 12 hues at their most saturated

Back 12

True

Front 13

T or F:

low-key hues often evoke a light, fun mood in the viewer

Back 13

false

Front 14

T or F:

cones are what enable us to distinguish between values

Back 14

false

Front 15

T or F:

pigments absorb some light wavelengths and reflect others

Back 15

true

Front 16

T or F:

color theory is studied solely by artists

Back 16

false

Front 17

T or F:

the three physical properties of color are hue, saturation, and light energy

Back 17

false, hue, saturation, and value

Front 18

T or F:

the subtractive primary colors are red, yellow, and blue

Back 18

true

Front 19

T or F:

if a composition is low key, it is also low contrast

Back 19

true

Front 20

T or F:

hues that are slightly saturated are also middle key in value

Back 20

false

Front 21

T or F:

sir isaac newton found that all hues are contained in white sunlight

Back 21

true

Front 22

T or F:

there are 5 types of cones in the retina

Back 22

false, three

Front 23

T or F:

the bauhaus artists promoted a style of free ornamentation

Back 23

true

Front 24

T or F:

paint mixing is an example of additive color

Back 24

false

Front 25

T or F:

a tint is a hue with gray added to it

Back 25

false, a tint is a hue with white added to it

Front 26

T or F:

achromatic grays are especially susceptible to simultaneous contrast

Back 26

true

Front 27

T or F:

low contrast makes a design easy to read

Back 27

false

Front 28

T or F:

when a full range of values is used, a two-dimensional shape may appear three-dimensional

Back 28

true

Front 29

T or F:

johann wolfgang von goethe completed a series of studies on the simultaneous contrast of colors

Back 29

false, it was michel chevreul

Front 30

T or F:

red has the shortest wavelength

Back 30

false, it has the longest

Front 31

color

Back 31

the visual response to the wavelengths of light identified as rgb, having the physical properties of hue, intensity, and value

Front 32

isaac newton

Back 32

discovered that sunlight contains the colors of the rainbow, responsible for color wheel and visible spectrum

Front 33

additive color

Back 33

primaries, rbg

Front 34

subtractive color

Back 34

primaries ryb (cmy for us grc badasses)

Front 35

pigments

Back 35

color substances that give their color property. pigments give an object its local color

Front 36

local color

Back 36

all-over color of something. ex: a red apple (may also contain other shades and colors other than red)

Front 37

the eye

rods and cones

Back 37

rods - allow us to distinguish light, are achromatic (no color)

cones - help us to distinguish color. there are 3 types of cones (red-orange, green, and blue-violet)

Front 38

simultaneous contrast

Back 38

the optical effect of adjacent colors and how they appear different in different environments and backgrounds.

Front 39

warm colors

Back 39

yellows, reds, and oranges. appear warmer and larger

Front 40

cool colors

Back 40

blues, greens, and violets. appear to recede and shrink

Front 41

the illusion of color and shape produced in the eye after staring at a strong color for some time

Back 41

afterimage

Front 42

optical color mixture

Back 42

the ability of our eyes to perceive small bits of color as one

Front 43

johann wolfgang von goethe

Back 43

psychological effects of color

Front 44

michel chevreul

Back 44

simultaneous contrast

Front 45

albert munsell

Back 45

hue saturation brightness

3d model of color

Front 46

hue

Back 46

designates the common name of a color, determined by specific wavelength of color

Front 47

chromatic value

Back 47

relative degree of lightness or darkness demonstrated by a given color

Front 48

shade

Back 48

hue + black

Front 49

tint

Back 49

hue + white

Front 50

pastel

Back 50

hue + gray

Front 51

intensity (saturation, chroma)

Back 51

the purity of a hue or its freedom from white, black, gray, or its complement

Front 52

primary colors

Back 52

preliminary hues that cannot be broken down any further. subtractive = ryb additive = rgb

Front 53

secondary colors

Back 53

made by mixing 2 primaries

green, orange, violet

Front 54

tertiary colors

Back 54

made by mixing a primary and a neighboring secondary:

red-orange
yellow-orange
blue-green
yellow-green
red-violet
blue-violet

Front 55

monochromatic

Back 55

color combination that utilizes 1 hue + black and white

Front 56

analogous

Back 56

color combo of colors next to each other on the wheel

Front 57

complements

Back 57

across from each other on color wheel


red-green
blue-orange
yellow-purple

Front 58

complementary neutrals

Back 58

created by mixing complements

Front 59

split complements

Back 59

color combo created from one hue + 2 hues on the other side of its complement

Front 60

triad

Back 60

color combo made by 3 equally spaced hues

Front 61

tetrad

Back 61

color combination from 4 equally (or similarly) spaced hues

Front 62

johannes itten

Back 62

7 color contrasts

1.hue
2. value (light/dark)
3. temperature (cold/warm)
4. complementary (opposites)
5. saturation (bright/dull)
6. simultaneous contrast (relativity)
7. extension (proportion)

Front 63

chiaroscuro

Back 63

gradual transition of values to create illusion of light and shadow on 3d form

Front 64

sfumato

Back 64

technique devised by da vinci, softly blending areas from light to dark with subtle transitions. result is hazy or smoky outlines.

"without lines or borders, the manner of smoke beyond the focus plane"

Front 65

tenebrism

Back 65

technique of painting that exaggerates or emphasizes chiaroscuro

high contrast and light shadow

Front 66

atmospheric perspective

Back 66

visual phenomenon where atmospheric density increases, hazing over the perceived world as one looks into its depth. overall definition lessens, details fade, contrasts become muted, and in a landscape a blue mist descends

Front 67

open value composition

Back 67

composition in which values flow across it, no hard edges

Front 68

closed value composition

Back 68

composition in which areas of value are contained within or limited by contours or edges of shapes

Front 69

high key

Back 69

naturally occuring or adjusted value levels from middle gray to white

Front 70

middle key

Back 70

naturally occuring or adjusted value levels in middle gray range

Front 71

low key

Back 71

naturally occurring or adjusted value levels from middle gray to black

Front 72

impressionist painting, especially pointillism

Back 72

based on optical color mixture and observations of light in nature by color theorists such as chevreul

Front 73

late 1800s early 1900s

cezanne and the cubists

Back 73

cezanne and the cubists began to apply color inseperable from form

Front 74

the expressionists

Back 74

freed color completely from its local function and began to make non-objective compositions

Front 75

art noveau

Back 75

aimed at linking all art forms under a unifying, free-flowing organic style

Front 76

bauhaus

Back 76

created "international style" which was free of ornamentation & sought harmony between form & function

Front 77

art deco

Back 77

emerged from influence of bauhaus, geometric shapes

Front 78

paul klee

Back 78

special dynamics between warm & cool

Front 79

camielle pissard

Back 79

shadows have a cool temp to them, highlights are warmer than darker areas

Front 80

joseph albers

Back 80

member of the bauhaus,

"color is the most relative medium in art"

Front 81

tenebrism

Back 81

high contrast and light shadow