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2D Final- MU
| Question | Answer |
|---|---|
| At spectrum intensity, a blue-violet is | Dark in value |
| Analogous colors | May help create color harmony |
| White is the result of overlapping projected rays of the additive color primaries. The additive color primaries include | Red, blue and green |
| In color mixing theory, blue+green-yellow+red = | Blue-violet |
| When several contrasting colors are used together, they will look unified if | All are somewhat neutralized |
| Mixing a common hue in each color used in a a painting will produce | Related or "keyed color" and a harmony of color tonality |
| Are adjacent in the spectrum | Analogous colors |
| Color which is seen viewing a painting by reflected light | Is a result of color absorbing all wavelengths except the color experienced, is an example of subtractive color |
| Hues directly opposite each other on the color wheel are known as | Complementary |
| All colors have the physical properties of | Hue, value, intensity |
| Local color may be thought of as being | Color as seen in the objective world (green leaves, blue water, white clouds) |
| To make a yellow-green appear "greener", it must be surrounded by | Yellow |
| When a color is mixing with a little of its complement | The color is said to be neutralized, the intensity of that color is lowered, the resulting color becomes a tertiary color, a change in value occurs |
| When additive color is used | A red theatre spotlight makes white objects assume the color of the light, the artist may be dealing with color as seen on computer or television monitors |
| In representational art, color identifies objects and | Creates illusionistic space |
| Color is derived from | Light (natural or artificial) |
| Additive color primaries | Red, blue, green. Can't be created from other mixtures |
| When red, blue, and green are combined they form | Additive secondaries, magenta, yellow, cyan. White light is created in the center where all colors overlap |
| Tv and computers use | Additive mixing processes |
| The eye merges the glowing pixels to perceive one complete image every | 1/13th of a second |
| The image may seem jumpy at | 30 frames per second |
| 120 frames may be needed in | High end video games |
| Normally our brains can process only about | 75 frames per second |
| Subtractive color | When color is experienced through reflected light |
| Any colored object has certain physical properties that enable it to absorb some color waves and reflect others | Pigmentation or color quality |
| The combination of all colors isn't black, it's actually | Dark gray |
| Intermediate colors | Mix of primary colors with a neighboring secondary color |
| Color wheel contains | 12 colors |
| Triadic color system | System of organization, broken into color triads |
| Closer together colors appear on the wheel | The closer their relationships are |
| Farther apart colors appear on the wheel | The more contrasting they are in character |
| Complementary colors | Opposite each other, greatest contrast in hue |
| When a color is mixed with its complement | It becomes neutral |
| Tertiary colors | Created by mixing any two secondary colors or combining non-analogous intermediate colors (browns, olives, maroons) |
| White could be thought of as the presence of | All color, surface reflects wavelengths to an equal degree |
| Black is the absence of color because | Surface absorbs all of the color rays equally and reflects none of them |
| Neutrals are concerned with the quantity of light reflected, while color | Involves the quality of light reflected |
| Every color used must be described in terms of 3 physical properties | Hue, value, intensity |
| Designates a color's position in the spectrum or color wheel | Hue |
| The only dark or light pigments available that would change the value without altering the hue are | Black, white or gray |
| All colors that are above middle gray are | High key |
| All colors below middle gray is | Low key |
| Intensity | Refers to the quality of light in a color, distinguishes a brighter appearance from a duller one of the same hue |
| As color loses its intensity it | Tends to approach gray |
| To alter the intensity of color | Place the color next to its complement (both colors appear to increase) or mixing of pigments; 2 or more colors (decrease the intensity of the color) |
| Can't change value without | Lowering the intensity |
| Lower the intensity without the value by | Mixing color with a neutral gray of the same value |
| Efficient way to decrease intensity of any hue is to | Add the complementary hue. Mixing 2 hues exactly opposite each other on the color wheel cancel each other out and a neutral gray occurs. |
| Outer most ring of color wheel | Primary, secondary, intermediate |
| Tertiary colors are characterized by | A change of value, loss of intensity and alternation of hue |
| Only pair of complements that can lower each others intensity without the value level | Red-orange and Blue-green |
| Each color tends to increase the apparent intensity of the other color, and when used in equal amounts | They are difficult to look at for any length of time (complementary) |
| Incorporates a color and the 2 colors on either side of its complement | Split-complement |
| A triadic color organization is based on | An even shorter interval between colors, giving less contrast between the colors |
| Primary triad | Uses only primary colors |
| Secondary triad | Composed of orange, green, violet (secondary colors) |
| Intermediate triads have | Two color schemes |
| Color tetrad | Color relationship based on a square rather than an equilateral triangle. Contain a primary, its complement, and a complementary pair of intermediates |
| Analogous colors | Those that appear next to each other on the color wheel. They have the shortest interval and are extremely harmonious |
| Monochromatic | Use only one hue, useful test of an artist's understanding of a given hue's value range |
| Brown, earthy tones generally are | Warm |
| Olive colors generally are | Cool |
| Colors may also be organized by their ability to create | Compositional depth |
| Warm colors advance, cool colors | Recede |
| Cool colors in the foreground and warm colors in the background the image is | Flattened (pictorial space) |
| Color can be used | To give spatial quality (supplement for value differences, create interest/ counterbalance), Create mood and symbolize, Express emotions and feelings, Emphasize, Well-ordered, Describe appearance |
| Monochromatic color scheme is | The most harmonious |
| Analogous colors are | The second harmonious |
| Tetrads | The third harmonious |
| Triads | The fourth harmonious |
| Split-complements | The fifth harmonious |
| Complementary colors | The sixth harmonious |
| These primaries are the secondary colors in the additive (light) system | Magenta, yellow, cyan |
| Monochrome photography | Provides images in black, white and a full range of grays |
| Halftoning | Allowed all the shades of gray to be printed with only one shade of ink- black |
| Colored filters | Creates tiny dots, incorporated to create a printing plate with proper ranges of value for each of the primaries |
| Most color printers are capable of | 300 dots per inch (dpi) |
| Patina | Refers to any surface-color development and is not limited in application to bronze sculpture (green-ish) |
| Academic | Art that conforms to established traditions and approved conventions as practiced in formal art schools, stresses standards, set procedures and rules |
| Achromatic | Relating to color perceived only in terms of neutral grays from light to dark without hue |
| Additive color | Color created by superimposing light rays. Adding the 3 primaries together will equal white |
| Chroma | The purity of a hue, or its freedom from white, black or gray. The intensity of a hue. (aka saturation) |
| Chromatic | Pertaining to the presence of color |
| Chromatic value | The relative degree of lightness or darkness demonstrated by a given color |
| Color | The visual response to different wavelengths of sunlight identified as red, green blue... have ing the physical properties of hue, intensity and value |
| Color tetrad | Four colors equally spaced on the color wheel, containing a primary and its complements and a complementary pair of intermediates |
| Color triad | Three colors, equally spaced on the color wheel, forming an equilateral triangle |
| Complementary colors | Two colors directly opposite each other on the color wheel. A primary color is complementary to a secondary color, which is a mixture of the two remaining primaries |
| High-key color | Any color that has a value level of middle gray or lighter |
| Hue | The generic name of a color, designates a colors position in the spectrum or on the color wheel. Determined by the specific wavelength of the color in a ray of light |
| Intensity | The saturation, strength, or purity of a hue. A vivid color is of hight intensity; a dull color is of low intensity |
| Intermediate color | A color produced by a mixture of a primary color and a secondary color |
| Intermediate triad | A group of three intermediate colors that are equally spaced on the color wheel and form an equilateral triangle; two groups of intermediate triads are found on the color wheel |
| Local (objective) color | The color as seen in the objective world |
| Low-key color | Any color that has a value level of middle gray or darker |
| Monochromatic | Having only one hue; may include the complete range of value (of one hue) from white to black |
| Neutralized color | Color that has been grayed or reduced in intensity by being mixed with any of the neutrals or with a complementary color |
| Neutrals | Only a sense of light and dark or the range from white through gray to black is noticed, no single color is noticed. |
| PIgment | A color substance that gives its color property to another material by being mixed with it or covering it. PIgments, usually insoluble are added to liquid vehicles to produce paint and ink |
| Primary color | A preliminary hue that cannot be broken down or reduced into component colors |
| Primary triad | The three primary colors on the color wheel, which are equally spaced and form an equilateral triangle |
| Secondary color | A color produced by a mixture of two primary colors |
| Secondary triad | The three secondary colors on the color wheel which are equally spaced and form an equilateral triangle |
| Shade (of color) | A color produced by mixing black with a hue, which lowers the value level and decreases the quantity of light reflected |
| Simultaneous contrast | When two different colors come into direct contact, the contrast intensifies the difference between them |
| Spectrum | The band of individual colors that result when a beam of white light is broken into its component wavelengths, identifiable as hues |
| Split-complements | A color and the two colors on either side of its complements |
| Subjective color | That which is derived from the mind, instead of physical reality, and reflects a personal bias, emotion, or interpretation. Inventive or creative |
| Subtractive color | The sensation of color that is produced when wavelengths of light are reflected back to the viewer after all other wavelengths have been subtracted or absorbed |
| Tertiary color | Color resulting from the mixture of all three primaries, two secondary colors or complementary intermediates. |
| Tint (of color) | A color produced by mixing white with a hue, which raises the value level and increases the quantity of light reflected |
| Tonality | A generic term for the quality of a color, often indicating a slight modification in hue, value or intensity. Dominating. |
| Value (color) | The relative degree of lightness or darkness |
| Value pattern | The arrangement or organization of values that control compositional movements and create a unifying effect throughout a work of art |
Created by:
M.koch
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