Painting 189-Fullerton College

Front 1

Law of simultaneous complimentary colors

Back 1

The optical "flicker" that occurs at the intersecting edge of two complimentary colors of equal value and intensity.

Hint 1

The red and green circle

Front 2

Dominant/recessive colors

Back 2

The tendency of colors to advance or recede spatially within a given painting. Warm colors tend to come forward and cool tend to recede. Bright/intense/warm colors tend to come forward and cooler/duller/neutral tend to recede.

Front 3

Texture

Back 3

Two kinds: 1) actual, tactile texture of the paint or surface of the painting. 2) visually implied through illusionistic description.

Front 4

Glaze

Back 4

Application of thinned/fluid transparent color over an area or the whole painting.

Front 5

Scumble

Back 5

To scrub a thin, dry, semitransparent color on the surface of another color to unify, soften or create texture; usually accomplished with a dry brush, rag, sponge or finger.

Front 6

Figure/ground

Back 6

The relationship of "positive" form & "negative" space; the illusion of spatial push/pull relationships within a picture plane created by the interaction of edges, overlap, chroma/intensity, placement, scale.

Hint 6

This is in front of that

Front 7

Picture plane

Back 7

The physical and optical surface of the painting. In the traditional metaphor of a painting as a "window"

Hint 7

The picture plane is the window pane itself

Front 8

Size

Back 8

The actual, measurable, objective size of a painting or of the objects/subjects within a painting

Front 9

Scale

Back 9

The relative size of objects/subjects within the painting/format, or of the painting to the viewer

Front 10

Format

Back 10

The size, material, and shape of the surface/substrate upon which a painting is painted; the boundaries & directions if painting

Front 11

Focal point

Back 11

The area in a composition that the artist decides is the center of interest; indicated by size, value contrast, detail, placement, color/intensity, etc.

Front 12

Atmospheric perspective

Back 12

Neutralizing or graying of color as forms recede from the observer to indicate depth/distance

Front 13

Composition

Back 13

The arrangement of parts into a cohesive, integrated whole

Front 14

Empathy

Back 14

Our psychological/physiological capacity to transfer our bodies into something outside ourselves.

Front 15

Caricature

Back 15

Use of specific emphasis on form of the purpose of creating distinctive visual effect through the exaggeration of proportion, shape, color or other visual qualities.

Front 16

Chiaroscuro

Back 16

The use of stark light and dark to create a sense of volume within a drawing or painting.

Front 17

Sfumato

Back 17

Subtle graduations of light and shadow that are so subtle as to appear atmospheric or "smokey"

Front 18

Pentimenti

Back 18

The visible trace if earlier painting beneath a layer or layers if paint on a canvas.

Front 19

Imprimatura

Back 19

A toned ground to begin a painting: a middle tone if transparent color washed or stumbled scumbled over a white priming-ground.

Front 20

Impasto

Back 20

Paint applied in a very thick, three-dimensional manner.

Front 21

Hue

Back 21

The specific name we give a color; not just "red" but "cadmium red". The visual quality that distinguishes one color from another

Front 22

Value

Back 22

Degree of lightness or darkness of a color relative to its surroundings

Front 23

Intensity chroma

Back 23

Degree if saturation, or pigment concentration within a given color

Front 24

Temperature

Back 24

Quality of a color that allows it to optically appear to be "warm" or "cool." The "direction" if a color on a color wheel is a general way of determining the warmth/coolness if hues. Towards red= warm, towards blue= cool

Front 25

Tint

Back 25

A color mixed with white. This makes the value lighter and lowers the intensity/chroma.

Front 26

Shade

Back 26

A color mixed with black. This makes the value darker & lowers the intensity/chroma

Front 27

Achromatic

Back 27

Black & white only, without additional color/chroma

Front 28

Monochromatic

Back 28

One color mixed with black & white to alter value

Front 29

Local color

Back 29

The observable, intrinsic color or value of an object in an even light and without shadow

Front 30

Neutral color/tone

Back 30

Color that had been dulled, greyed, or has a neutral appearance where the chromatic quality has been altered by mixing with grey or a compliment of that color

Front 31

Complementary colors

Back 31

Colors directly opposite on the color wheel: red & green, yellow & violet, blue & orange. The strongest contrast

Front 32

Primary colors

Back 32

Red, yellow, blue. Three basic, irreducible elements of color that can be mixed together to create all the other colors; primary cannot be mixed from other colors.

Front 33

Secondary colors

Back 33

Color made if any two primary colors: greens, oranges, purple & violets

Front 34

Tertiary colors

Back 34

A color made with any combo of all three primary colors

Front 35

Intermediate colors

Back 35

Guess that fall between a primary & secondary color. Made by mixing adjoining colors primary & secondary colors: yellow-green, red-violet, blue-green, red-orange

Front 36

Analogius colors

Back 36

Side by side colors on the color wheel, not exceeding more than 1/2 way around the wheel

Front 37

Transparent colors

Back 37

Color that you can see through

Front 38

Opaque colors

Back 38

Color you cannot see through

Front 39

Broken color

Back 39

When underlying hues appear through breaks/openings in the upper layers if paint to produce optical mixtures

Front 40

Reflected (ambient) color

Back 40

The color of a form that is modified by the colors/light around it