Color Theory Flashcards
1
Q
An individual’s perception of numbers and letters associated with that experience of colors
A
Grapheme-Color Synesthesia
2
Q
Made up of numerous waves or impulses each having different dimensions of wave lengths
A
White light or Daylight
3
Q
Process of mixing pigments together, such as we see paintings; when these pigments are blended, more light is absorbed and less is reflected
A
Subtractive Color
4
Q
The process of mixing colored light, such as in theatrical lighting or television
A
Additive Color
5
Q
Based on the viewer’s reaction to colors when they are placed next to each other
A
Partitive Color
6
Q
3 different ways a user can mix the colors of the light display
A
- CMYK (Cyan, Magenta, Yellow, Key)
- RGB (Red, Green, Blue)
- HSV (Hue, Saturation, Value) or HSL (Hue, Saturation, Lightness)
7
Q
Range of colors reproduced in color mode
A
Gamut
8
Q
It is the setting or correcting of a measuring device or base level, usually by adjusting it to match or conform to a deniably known and unvarying measure
A
Calibration
9
Q
Standardized color reproduction system; by standardizing the colors, different manufacturers in different locations can all refer to it to make sure colors match without direct contact with one another
A
Pantone Color Matching System
10
Q
3 dimensions of color; gives identity to the color
A
- Hue
- Saturation
- Value
11
Q
Refers to the undiluted colors; it refers to the true colors of the spectrum
A
Hue
12
Q
A combination of unequal proportions of all the primaries
Examples : Russet, ecru
Sometimes known as _________
A
Broken Hue
Earth colors
13
Q
Hues that are usually related to blue; it recedes and suggest sky, water, distance, foliage, and shadows; it is quiet, restful, far,airy, and light
A
Cool Hues
14
Q
Hues that are usually related to red; it suggests aggression, sunlight, heat, blood, arousal, and stimulation; appears heavier than cool ones
A
Warm Hues
15
Q
What is the coolest hue?
A
Blue-green
16
Q
What is the warmest hue?
A
Red-orange
17
Q
Refers to the brightness of a color; its intensity referring to the brightness to dullness
A
Saturation
18
Q
It is the addition of gray to pure hue
A
Tones
19
Q
It refers to the lightness and darkness of a color; how much white and how much black
A
Value
20
Q
A color with the presence of white; lighter effect of a color
Example: Pink is the ** of Red
A
Tint
21
Q
A color with the presence of black; darker effect of a color
Example: Navy is a ** of blue
A
Shade
22
Q
It is a step of change between color samples
A
Intervals
23
Q
Series of progressive intervals that are so close that individual steps cannot be distinguished; seamless transition between color differences
A
Gradient
24
Q
Gray, white, and black are __________ colors.
A
Achromatic
25
All other colors with hues are __________ colors.
Chromatic
26
Colors that are higher in value (lighter), lower in saturation, cooler in hue
Receding
27
Colors that are lower in value (darker), highly saturated, and warmer in hue
Advancing
28
The __________ in an object enable it to absorb some light waves and reflect the others
Pigments
29
What we actually see as color is called __________. When an object is hit with light rays, the object absorbs certain waves and reflects others, this determines the __________.
Color Effect
30
The colored light in the visible spectrum ranges from __________ to ___________.
Red to Violet
30
It is the basis for working with subtractive color, it imparts information about the reactions colors have when they are actually mixed; when using this, keep in mind that red, yellow, and blue cannot be obtained by mixing pigments
Pigment Wheel
31
When the pigments, yellow, red and blue are combined, a muddy _________ is the result.
Muddy Black
32
Consists of three unique colors: red, yellow, and blue
Primary Colors
33
Are produced from the mixing of one primary color with another; these colors are orange, green, and violet
Secondary Colors
34
These colors are created when mixing one secondary and one primary color
Tertiary Colors
35
It gives us three basic primaries: yellow, magenta, and cyan; if mixed these colors result in purer hues; this arrangement is the standard employed in color printing, photography, as well as pigment (ink) manufacture
Process Wheel
36
Mixing yellow (bright), magenta (an intense red, leaning towards violet), and cyan (blue but leaning towards green) will result to a __________.
Gray- black
37
When all of the Light Wheel's primaries are combined, the result is __________.
White
38
A quantitative measure of the ability of a light source to reproduce the colors of illuminated objects accurately when compared to a reference light source, such as pure sunlight; a high ** equates to sharper, crisper, more natural colored pictures while reducing glare
CRI (Color Rendering Index)
39
A CRI scale is from __________ to __________.
0 to 100 (sun)
40
Is a visual sensation caused by excessive and uncontrolled brightness; it is subjective and can vary widely
Glare
41
Is the reduction in visibility caused by intense light sources in the field of view
Disability Glare
42
It is the sensation of annoyance or even pain induced by overly bright sources
Discomfort Glare
43
It best describes the color appearance of the light source and the light emitted from it; measured in degrees of kelvin
Color Temperature
44
Most preferred lighting for most offices; bright white
Cool Daylighting 6500K
45
Preferred lighting for hotels and environments that want to create a warm atmosphere
3500 - 4000K
46
His work outlines the theory that all colors (yellow, red, purple, green, and blue) are derived from mixtures of black and white; from 384-322 BC
Aristotle
47
The first known book about color, by Aristotle; it is where he attempted to explain the composition of colors and how they were related; translation: 'On Colors'
De Coloribus
48
A Renaissance artist and scientist; according to him, black and white were indeed colors; he assigned yellow, green, blue, red, and black as the SIMPLE or PRIMARY colors; his other works involved the (1) atmospheric perspective (for landscapes), (2) sfumato, (3) partitive system, and (4) the fluting effect
Leonardo Da Vinci (1452-1519)
49
A published work of Leonardo da Vinci where he set out his beliefs on color theory
Treatise on Painting (1651)
50
It is based on the additive color system and provides information concerning light rays and transparent color; used for theatrical lighting and projection and is now the basis for video and computer graphics as well
Light Wheel
51
Leonardo concluded that certain responses took place when colors are placed next to each other. This was later known as __________.
Simultaneous Contrast
52
When vertical bars of intervals look concave, when side by side, but are actually solid in color
Fluting Effect
53
The age where the search for the perfect color system and the search for the laws of harmony in color combination took place
Age of Enlightenment
54
An English Physicist that was interested purely in the physics of color rather than perception; discovered that as a ray of white light passes and is bent through a prism, it is broken into an array of colors or spectral hues - roygbiv; invented the first color wheel that turns white when it spins
Sir Isaac Newton (1642-1727)
55
The book Sir Isaac Newton wrote which talks about how light alone generates colors
Optics (1704)
56
An English entomologist and engraver who called the primary hues red, yellow, and blue as the PRIMITIVES; he also called the mixture of Primitives (Orange, green, and violet) as COMPOUND; his wheel is divided into eighteen equal hue divisions that was graded by value- light to dark
Moses Harris
57
The book by Moses Harris where he presented his Primitives and Compounds
The Natural System of Color (1766)
58
One of the first modern thinkers to investigate and record the function of the eye and its interpretation of color, rather than the properties of light; explored the role of complementary colors in creating shadows, simultaneous contrast, successive contrast and proportional color use
Johann Wolfgang Von Goethe (1749-1832)
59
Goethe's __________ remains the convention for artists while Newton's __________ remains the scientist's (physical) spectrum.
Six-hue spectrum and Seven-hue model of visible hues
60
A German painter who arranged twelve hues in a spherical form, giving us the first three-dimensional color model; his primaries were still yellow, red, and blue
Philip Otto Runge (1777-1810)
61
The title of the book by Philippe Otto Runge where he arranged the first three dimensional color model
The Color Sphere (1810)
62
A French chemist and dye master who contributed the Color Theory Laws of simultaneous contrast (based on complementaries), successive contrast (based on after images), and optical mixing
Michel Eugene Chevreul (1786-1889)
63
Michel Eugene Chevreul was hired by the famous French tapestry weaving studio, named __________, to be its dye master.
Gobelins
64
Michel Eugene Chevreaul's findings became part of his major publication __________.
The Principle of Harmony and Contrast of Colors
65
It is an optical reaction that occurs after we stare intensely at a hue and shift our eyes to a white surface
After imaging
66
An American who proposed that colors differed from one another as a result of three variables: purity (saturation), luminosity (value), and hue; his experiments were concerned with the optical mixing that occurs in pointillism
Ogden Rood (1831-1902)
67
A painting technique in which dots of pure hues are placed together on a white ground so that they are mixed by the eye
Pointillism
68
The life's work of this American-born theorist was added by the United States Bureau of Standards as the acceptable language of color; he provide pigment specification standardizing the color of the industry; he developed partitive color system based on the PRINCIPAL COLOR: yellow, red, green, blue, violet
Albert Munsell (1858-1918)
69
Munsell set up each after image as the complement to his PRINCIPAL hues; the complementary hue occupies the position directly opposite on the color wheel; with this, he was able to arrange his _________.
20- step Munsell Wheel
70
Munsell systematized the color wheel into a three dimensinal form that he termed _________; it showed value from top to bottom, and from the horizontal intervals he it showed the saturation, from the inner most axis showed the neutrals
Tree
71
The acceptable language of color by Albert Munssel was published in his book called __________.
Color Notation 1905
72
A Swiss teacher and artist who taught both color and design at the enormously influential Bauhaus School in Germany
Johannes Itten (1888-1967)
73
Johannes Itten developed his color sphere and __________, which is simply s flattened version of the sphere developed by Runge, for his Bauhaus preliminary course in 1919; he placed yellow at the top of his diagram because it was the brightest and the closet to white light
Star
74
Johannes Itten is probably best known to the color student for his book __________ and its condensed version __________.
The Art of Color;
| The Elements of Color
75
A teacher at the Bauhaus school; he became absorbed with how colors react and interact; in his own paintings, he used few colors but strong contrasts in rectilinear form; he used these formats to investigate the infinite color combination possibilities and their effects
Josef Albers
76
The teaching diagram Josef Albers used most often; it had red, yellow, and blue at its points, green at its midpoint, and red-gray, yellow-gray, and blue-gray in between
Triangle
77
Refers to the visual agreement of all parts of a work; also called Color Chords; time tested combinations that work well together
Color Harmonies
78
It is a harmony based on one hue; the one with most unity; can combine with neutral colors
Monochromatic
79
A color combination using two to three hues that lie side by side on the color wheel; it is related and non-contrasting
Analogous
80
Refers to a harmony using two hues that lie directly opposite one another on a color wheel; it is usually informal and whimsical
(Direct) Complementary
81
An arrangement wherein one of the hues lie to one side of what would otherwise be direct complement
Near Complementary
82
It uses two colors adjacent to its complement; has strong visual contrast; 'Y' shaped
Split complementary
83
Three hues that lie equidistant from one another on the color wheel; it forms a triangle
Triadic
84
A color harmony that uses four equidistant hues
Tetradic
85
It utilizes blacks to whites; it has no color; can add neutral but must have a bigger black and white portion
Achromatic
86
Utilizes earth colors - grays and brows; they are not on the color wheel and does not contrast with any hue; it is good for diluting the intensity of colors
Neutrals
87
Utilizes one accent hue with neutral colors; more neutrals than the hue
One Hue with Neutral
88
It is the absence of color (light); and the combination of all colors (pigment)
Positive effects: Sophistication, power, respect
Negative effects: Death, emptiness, depression, disapproval, mystery, bad luck
Black
89
Ultimate lightness; it is all the colors combined (light) and the absence of color (pigment)
Positive effects: Purity, cleanliness, sterility, innocence, peacefulness, birth, empowerment
Negative effects: Surrender, cowardice, cover-up
White
90
Is one of the oldest color names; first to be seen in a rainbow and has the greatest emotional impact of all
Positive effects: Love, luck, passion, sexiness, festivity, compassion, importance, power, health, courage, feminine, sweet
Negative effects: War, revolution and anarchy, the devil, danger, fire, debt and bureaucracy
Red (Pink)
91
Stands out well and create s sense of warmth and often behave like yellow
Positive effects: Warmth, fruitfulness, brightness, cheerfulness, autumn, spices
Negative effects: Danger, gloom, melancholy, boredom
Orange (Brown)
92
Most easily perceived of hues, with the highest luminosity rating after white; seen before other colors especially when placed against black; used often as a warning sign
Positive effects: Cheerfulness, sun, gold, vitality, hope, warmth, optimism
Negative effects: Caution, sickness, betrayal, treason, age, cowardice
Yellow
93
Is the largest color family discernible to the human eye
Positive effects: Environment, growth, renewal, fertility, freshness, nature, youth, health, peace, calm, wealth
Negative effects: Poison, envy, inexperience, gullibility, immaturity, eeriness, nausea, rawness, sourness
Green
94
Perceived as constant in our lives; collective color of the spirit; invokes rest and can cause the body to produce chemicals that are calming
Positive effects: Royalty and aristocracy, the best, heaven, coolness, truth, tranquility, conservatism, loyalty, dependability, security
Negative effects: Introversion, sadness, depression, winters, the unexpected, low class
Blue
95
Hardest color for the eye to discriminate; embodies the balance of red's stimulation and blue's calm
Positive effects: Bravery, dignity, aristocracy, spirituality, mystery, luxury, royalty
Negative effects: Conceit, pomposity, mourning, death, rage
Violet
96
Phenomenon of light and visual perception that may be described in terms of an individual's perception of hues, saturation, and lightness for objects, and hue, saturation, and brightness for light sources
Color
97
Distribution of energy emitted by a radiant source, arranged in order of wavelengths, esp. the band of colors produced when sunlight is refracted and dispersed by a prism
Spectrum
98
Designating a color having high lightness and low saturation
Pale
99
Designating a color having high lightness and strong saturation
Brilliant
100
Designating a color having low lightness and low saturation, and reflecting only a small fraction of incident light
Dark
101
Designating a color having low lightness and strong saturation
Deep
102
A system for specifying colors arranged in three orderly scales of uniform visual steps according to hue, chroma, and value, develed in 1898 by Albert H. **
Munsell System
103
One of the three dimensions of color; the property of light by which the color of an object is classified as being red, yellow, or blue, or an intermediate between any contiguous pair of these colors
Hue
104
One of the three dimensions of color; the purity or vividness of a hue; intensity
Saturation
105
The degree by which a color differs from a gray of the same lightness or brightness, corresponding to saturation of the perceived color
Chroma
106
Dimension of color by which an object appears to reflect more or less of the incident light, varying from black to white for surface colors and from black to colorless for transparent volume colors
Lightness
107
The degree by which a color appears to reflect more or less of the incident light, corresponding to lightness of the perceived color
Value
108
The dimension of a color that is correlated with luminance and by which visual stimuli are ordered continuously from very dim to very bright
Brightness
109
Pure __________ has the maximum brightness and pure __________ the minimum brightness
White ; Black
110
Scale of achromatic colors having several, usually ten, equal gradations ranging from white to black
Gray Scale
111
The perceived color of an object, determined by the wavelengths of the light reflected from its surface after selective absorption of other wavelengths of the incident light
Reflected Color
112
The absorption of certain wavelengths of the light incident on a colored surface, the remaining portion being reflected or transmitted
Selective Absorption
113
A color produced by mixing cyan, yellow, and magenta pigments, each of which absorbs certain wavelengths; a balanced mixture of these colorant theoretically yields black since it absorbs all wavelengths of visible light
Subtractive Color
114
A color produced by combining lights of red, green and blue wavelengths; this light or additive primaries contain all the wavelengths necessary to produce a colorless or white light
Additive Color
115
Merging of juxtaposed dots or strokes of pure colors when seen from a distance to produce a hue often more luminous than that available from premixed pigments
Optical Mixing
116
Designating a color inclined toward or dominated by red, orange, or yellow
Warm
117
Designating a color inclined toward or dominated by green, blue, or vilolet
Cool
118
A warm color that appears to move toward observer, giving an illusion of space
Advancing Color
119
Cool color that appears to move away from an observer, giving the illusion of space
Receding Color
120
Circular scale of the colors of the spectrum, showing complementary colors opposite each other; color circle
Color Wheel
121
Any set of colors such as red, yellow and blue; regarded as generating all other colors
Primary Color
122
A colors such as orange, green, or violet, produced by mixing two primary colors
Secondary Color
123
A color, such as brown, produced by mixing two secondary colors, or a secondary color with one of its constituent primaries
Tertiary Color
124
Arrangement or pattern of colors conceived of as forming an integrated whole
Color Scheme
125
One pair of opposing colors on a color wheel perceived as completing or enhancing each other
Complementary Color
126
One of two or three closely related colors on a color wheel
Analogous Color
127
Combination of three colors forming an equilateral triangle on a color wheel
Triad
128
Combination of one color and the pair of colors adjoining its complementary color on a color wheel
Split Complementary
129
A combination of two analogous colors and their complementary colors on a color wheel
Double Complementary
130
Having only one cool or exhibiting varying intensities and values of a single hue
Monochromatic
131
Having or exhibiting a variety of colors
Polychromatic
132
The Color Triangle was developed by __________
Faber Birren
133
A triangular diagram developed by Faber Birren to describe the relationship between a pure hue, white, and black, which combine to yield secondary tints, tones shades, and grays
Color Triangle
134
Intermediate value of a color between a tint and a shade
Tone
135
Achromatic color between white and black
Gray
136
Having no saturation and therefore no hue, such as white, black, or gray
Achromatic
137
Relatively dark value of a colors produced by adding black to it
Shade
138
A color model in which white is the additive combination of the three primary colored lights- red, green, and blue - and black is the absence of light
RGB Color Model
139
Method for representing and storing graphical image information by using a 24-bit color depth to allow more than 16 million colors to be displayed in a digital image
True Color
140
Acronym for the four colored his used in printing process - cyan, magenta, yellow, and black
CMYK
141
A color model in which the four colored inks used in color printing - cyan, magenta, yellow, and black - subtract brightness from the typical white background of the papers with black results from the full combination of colored inks
CMYK Color Model
