Color & Design Final

Front 1

monochromatic

Back 1

color scheme built on one hue. hue variation makes many color options... slightly warm/cold, dark/light, etc.

Front 2

chroma

Back 2

saturation. pure color = high chroma. controlled by adding gray.

Front 3

spectrum

Back 3

the band of colors produced when sunlight is passed through a prism:red, orange, yellow, green, blue, indigo, and violet.

also: electromagnetic spectrum - rays arranged high freq to low freq - includes visible light spectrum

Front 4

intermediate color

Back 4

mixture of a primary and an adjacent secondary color

Front 5

intensity

Back 5

saturation. purity. chroma. etc.

Front 6

neutralized color

Back 6

aka tone. color + neutral? add black, gray or complement

Front 7

secondary color

Back 7

mixture of two primary hues. cyan, magenta, yellow (additive). orange, green, violet (subtractive)

Front 8

subtractive color

Back 8

not light... opaque surfaces that reflect light. surface colors, physical colors of PIGMENTS. primaries: RYB or CMY. secondaries: OGV

Front 9

color triad

Back 9

3 colors spaced equally apart on the color wheel. primary, secondary, or two tertiary options. triadic scheme usually uses pure hues of the triad, no mixtures. primary triad used most often.

Front 10

low-key color

Back 10

darkest hues and shades. lots of black.

Front 11

tertiary color

Back 11

mixture between primary and secondary hue. (name= primary + secondary)

Y+G=YG
Y+O=YO
R+O=RO
R+V=RV
B+V=BV
B+G=BG

Front 12

chromatic value

Back 12

hues have inherent values.... yellow is close to white, violet is close to black

Front 13

primary color

Back 13

components of all other hues
additive (light): rgb. subtractive (pigment): ryb or cmy

Front 14

achromatic

Back 14

neutrals - black, white, gray. no chroma/hue. just value.

also sometimes low chroma, earth tones

Front 15

high-key color

Back 15

light hues and tints. lots of white.

Front 16

analogous color

Back 16

2 or three neighboring hues on the color circle. they make up a color family. a simple color scheme

Front 17

simultaneous color

Back 17

color is relative to what surrounds it. the eye wants to see the complement of any given color, especially high-intensity colors.

Front 18

color tetrad

Back 18

scheme of four colors. either a square or rectangle inscribed in the color circle. when a square, it's two pairs of complements. less harmonious than schemes with fewer hues.

Front 19

hue

Back 19

specific wavelength from the spectrum OR a color, in its pure state, from the color circle

Front 20

additive color

Back 20

system relevant to colored light - basis for all other color systems. white is all hue wavelengths ADDED together. primaries: RGB secondaries: CMY

Front 21

complementary colors

Back 21

two hues located directly across from each other on the color circle. yellow-blue, magenta-green, cyan-red, etc.
additive complements absorb each other.

Front 22

Wilhelm Ostwald

Back 22

German chemist. color system based on Herin's theories: three pairs (red-green, yellow-blue, black-white) = all colors. Ostwald's circle is weighted towards cool colors.

Also OStwald solid: color circle gradated to black/white

Front 23

Albert Munsell

Back 23

American color theorist. created three-dimensional color tree which illustrated hsv all at once. core: white on top to black on bottom, colors radiate from center to full saturation

Also color circle w/ ten hues

Front 24

Sir Isaac Newton

Back 24

English mathematician and physicist. project white light through prism and discovered spectrum of hues. definitively identified seven hues which could create all other colors.. First color circle.

Front 25

Joseph Albers

Back 25

German painter, educator, color theorist. Bauhaus School. book "the Interaction of Color" with color exercises. paintings 'Homage to the Square' explored color relationships

color interaction studies: make one color appear to be two colors by changing bg AND make two different colors look like one color

Front 26

Johann Wolfgang von Goethe

Back 26

German poet. developed color theory based on subtractive surface color perception - ID'd color primaries as RYB. Made color circle based on laws of subtraction. Making connection between additive and subtractive. Also developed numerical scale of color proportion.

Front 27

Bezold Effect

Back 27

changing one single color causes multiple color shifts in a design. also affects relationships between colors. most noticeable in patterns.

Front 28

Color Harmony

Back 28

formation of a group of colors that visually unify in some manner. colors visually pleasing when grouped together. strategies for selecting colors... base hues. use layout of color circle as guide.
formal: three kinds:
simple (achromatic, monochromatic, analogous)
opposing/contrasting (complementary, cool/warm , double complement, split complementary)
balanced (triadic, tetrad)

keyed

informal

Front 29

value

Back 29

all perceptible levels of light and dark colors from white to black.
hue+black=shade
hue+white=tint

hues have different inherent values
colors can be value-keyed - brought close to the same level

Front 30

saturation

Back 30

purity/intensity/chroma/brightness
adding anything to a color lowers its saturation

Front 31

Split Complementary Color Harmony

Back 31

three-hue color harmony. to find split complement, find actual complement and use two hues on either side

Front 32

Double Complement

Back 32

four-hue contrasting color scheme using two adjacent complementary pairs

Front 33

Color Temperature

Back 33

visual associations from our culture and environment make us feel that red is warm and blue is cold.
warm=light, heat
cold=coolness, distance, shadow
charted by color circle - each half, roughly; yellow-green and red-violet are borderline
warm colors more dominant
warm and cool contrast

Front 34

color proportion

Back 34

based on the dissimilarities in saturation levels of pure hues, designed so that relative visual weights of pure hues can balance compositionally. originated by Goethe

Front 35

after image

Back 35

when our eye becomes tired or saturated with one hue, it produces its visual opposite/complement. usually only seen in controlled or extremely strong color situation. occurs due to fatigue in cones of the eye.

Front 36

principles of color interaction

Back 36

light/dark value contrast
complementary reaction or effect
subtraction (a strong/dominant color will subtract itself from a smaller/less dominant color)

Front 37

vibration

Back 37

complements in a coarse texture cause complementary vibration. the eye wants to see the colors simultaneously for visual balance, the colors seem to repel each other, causing an illusion of movement/vibration. strongest in red/green

Front 38

color dominance

Back 38

occurs when a single hue, value, or saturation is allowed to be preeminent in a composition, thus influencing all other colors.

Front 39

transparency

Back 39

actual: perception/use of transparent colored materials (glass, filters, acetates, plastic, etc.) light passes through transparent object that filters light wavelengths. watercolor, thinned acrylic.

simulated: two opaque colors overlap and seem to mix into a third opaque color.

Front 40

gestalt

Back 40

a whole that is inseparable from its parts. our need for visual order causes us to perceive elements in cohesive groups (scale, color, shape, etc.) also, we 'fill in the blanks'.. implied line

Front 41

emphasis

Back 41

focal point, specific region of visual interest in a composition. not necessary. created through: contrast, isolation, direction

Front 42

symmetry

Back 42

formal balance/perfect balance - vertical, horizontal, diagonal axis. elements on each side perfectly equal.

Front 43

balance

Back 43

equal distribution of visual weight in art. symmetry or asymmetry or crystallographic or radial