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Interior Design > Color Theory > Flashcards

Color Theory Flashcards

1
Q

An individual’s perception of numbers and letters associated with that experience of colors

A

Grapheme-Color Synesthesia

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2
Q

Made up of numerous waves or impulses each having different dimensions of wave lengths

A

White light or Daylight

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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

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4
Q

The process of mixing colored light, such as in theatrical lighting or television

A

Additive Color

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5
Q

Based on the viewer’s reaction to colors when they are placed next to each other

A

Partitive Color

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6
Q

3 different ways a user can mix the colors of the light display

A
  1. CMYK (Cyan, Magenta, Yellow, Key)
  2. RGB (Red, Green, Blue)
  3. HSV (Hue, Saturation, Value) or HSL (Hue, Saturation, Lightness)
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7
Q

Range of colors reproduced in color mode

A

Gamut

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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

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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

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10
Q

3 dimensions of color; gives identity to the color

A
  1. Hue
  2. Saturation
  3. Value
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11
Q

Refers to the undiluted colors; it refers to the true colors of the spectrum

A

Hue

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12
Q

A combination of unequal proportions of all the primaries
Examples : Russet, ecru
Sometimes known as _________

A

Broken Hue

Earth colors

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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

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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

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15
Q

What is the coolest hue?

A

Blue-green

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16
Q

What is the warmest hue?

A

Red-orange

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17
Q

Refers to the brightness of a color; its intensity referring to the brightness to dullness

A

Saturation

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18
Q

It is the addition of gray to pure hue

A

Tones

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19
Q

It refers to the lightness and darkness of a color; how much white and how much black

A

Value

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20
Q

A color with the presence of white; lighter effect of a color
Example: Pink is the ** of Red

A

Tint

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21
Q

A color with the presence of black; darker effect of a color

Example: Navy is a ** of blue

A

Shade

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22
Q

It is a step of change between color samples

A

Intervals

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23
Q

Series of progressive intervals that are so close that individual steps cannot be distinguished; seamless transition between color differences

A

Gradient

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24
Q

Gray, white, and black are __________ colors.

A

Achromatic

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25
Q

All other colors with hues are __________ colors.

A

Chromatic

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26
Q

Colors that are higher in value (lighter), lower in saturation, cooler in hue

A

Receding

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27
Q

Colors that are lower in value (darker), highly saturated, and warmer in hue

A

Advancing

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28
Q

The __________ in an object enable it to absorb some light waves and reflect the others

A

Pigments

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29
Q

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 __________.

A

Color Effect

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30
Q

The colored light in the visible spectrum ranges from __________ to ___________.

A

Red to Violet

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30
Q

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

A

Pigment Wheel

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31
Q

When the pigments, yellow, red and blue are combined, a muddy _________ is the result.

A

Muddy Black

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32
Q

Consists of three unique colors: red, yellow, and blue

A

Primary Colors

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33
Q

Are produced from the mixing of one primary color with another; these colors are orange, green, and violet

A

Secondary Colors

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34
Q

These colors are created when mixing one secondary and one primary color

A

Tertiary Colors

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35
Q

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

A

Process Wheel

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36
Q

Mixing yellow (bright), magenta (an intense red, leaning towards violet), and cyan (blue but leaning towards green) will result to a __________.

A

Gray- black

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37
Q

When all of the Light Wheel’s primaries are combined, the result is __________.

A

White

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38
Q

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

A

CRI (Color Rendering Index)

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39
Q

A CRI scale is from __________ to __________.

A

0 to 100 (sun)

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40
Q

Is a visual sensation caused by excessive and uncontrolled brightness; it is subjective and can vary widely

A

Glare

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41
Q

Is the reduction in visibility caused by intense light sources in the field of view

A

Disability Glare

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42
Q

It is the sensation of annoyance or even pain induced by overly bright sources

A

Discomfort Glare

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43
Q

It best describes the color appearance of the light source and the light emitted from it; measured in degrees of kelvin

A

Color Temperature

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44
Q

Most preferred lighting for most offices; bright white

A

Cool Daylighting 6500K

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45
Q

Preferred lighting for hotels and environments that want to create a warm atmosphere

A

3500 - 4000K

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46
Q

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

A

Aristotle

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47
Q

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’

A

De Coloribus

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48
Q

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

A

Leonardo Da Vinci (1452-1519)

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49
Q

A published work of Leonardo da Vinci where he set out his beliefs on color theory

A

Treatise on Painting (1651)

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50
Q

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

A

Light Wheel

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51
Q

Leonardo concluded that certain responses took place when colors are placed next to each other. This was later known as __________.

A

Simultaneous Contrast

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52
Q

When vertical bars of intervals look concave, when side by side, but are actually solid in color

A

Fluting Effect

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53
Q

The age where the search for the perfect color system and the search for the laws of harmony in color combination took place

A

Age of Enlightenment

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54
Q

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

A

Sir Isaac Newton (1642-1727)

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55
Q

The book Sir Isaac Newton wrote which talks about how light alone generates colors

A

Optics (1704)

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56
Q

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

A

Moses Harris

57
Q

The book by Moses Harris where he presented his Primitives and Compounds

A

The Natural System of Color (1766)

58
Q

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

A

Johann Wolfgang Von Goethe (1749-1832)

59
Q

Goethe’s __________ remains the convention for artists while Newton’s __________ remains the scientist’s (physical) spectrum.

A

Six-hue spectrum and Seven-hue model of visible hues

60
Q

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

A

Philip Otto Runge (1777-1810)

61
Q

The title of the book by Philippe Otto Runge where he arranged the first three dimensional color model

A

The Color Sphere (1810)

62
Q

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

A

Michel Eugene Chevreul (1786-1889)

63
Q

Michel Eugene Chevreul was hired by the famous French tapestry weaving studio, named __________, to be its dye master.

A

Gobelins

64
Q

Michel Eugene Chevreaul’s findings became part of his major publication __________.

A

The Principle of Harmony and Contrast of Colors

65
Q

It is an optical reaction that occurs after we stare intensely at a hue and shift our eyes to a white surface

A

After imaging

66
Q

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

A

Ogden Rood (1831-1902)

67
Q

A painting technique in which dots of pure hues are placed together on a white ground so that they are mixed by the eye

A

Pointillism

68
Q

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

A

Albert Munsell (1858-1918)

69
Q

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 _________.

A

20- step Munsell Wheel

70
Q

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

A

Tree

71
Q

The acceptable language of color by Albert Munssel was published in his book called __________.

A

Color Notation 1905

72
Q

A Swiss teacher and artist who taught both color and design at the enormously influential Bauhaus School in Germany

A

Johannes Itten (1888-1967)

73
Q

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

A

Star

74
Q

Johannes Itten is probably best known to the color student for his book __________ and its condensed version __________.

A

The Art of Color;

The Elements of Color

75
Q

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

A

Josef Albers

76
Q

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

A

Triangle

77
Q

Refers to the visual agreement of all parts of a work; also called Color Chords; time tested combinations that work well together

A

Color Harmonies

78
Q

It is a harmony based on one hue; the one with most unity; can combine with neutral colors

A

Monochromatic

79
Q

A color combination using two to three hues that lie side by side on the color wheel; it is related and non-contrasting

A

Analogous

80
Q

Refers to a harmony using two hues that lie directly opposite one another on a color wheel; it is usually informal and whimsical

A

(Direct) Complementary

81
Q

An arrangement wherein one of the hues lie to one side of what would otherwise be direct complement

A

Near Complementary

82
Q

It uses two colors adjacent to its complement; has strong visual contrast; ‘Y’ shaped

A

Split complementary

83
Q

Three hues that lie equidistant from one another on the color wheel; it forms a triangle

A

Triadic

84
Q

A color harmony that uses four equidistant hues

A

Tetradic

85
Q

It utilizes blacks to whites; it has no color; can add neutral but must have a bigger black and white portion

A

Achromatic

86
Q

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

A

Neutrals

87
Q

Utilizes one accent hue with neutral colors; more neutrals than the hue

A

One Hue with Neutral

88
Q

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

A

Black

89
Q

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

A

White

90
Q

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

A

Red (Pink)

91
Q

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

A

Orange (Brown)

92
Q

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

A

Yellow

93
Q

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

A

Green

94
Q

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

A

Blue

95
Q

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

A

Violet

96
Q

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

A

Color

97
Q

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

A

Spectrum

98
Q

Designating a color having high lightness and low saturation

A

Pale

99
Q

Designating a color having high lightness and strong saturation

A

Brilliant

100
Q

Designating a color having low lightness and low saturation, and reflecting only a small fraction of incident light

A

Dark

101
Q

Designating a color having low lightness and strong saturation

A

Deep

102
Q

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. **

A

Munsell System

103
Q

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

A

Hue

104
Q

One of the three dimensions of color; the purity or vividness of a hue; intensity

A

Saturation

105
Q

The degree by which a color differs from a gray of the same lightness or brightness, corresponding to saturation of the perceived color

A

Chroma

106
Q

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

A

Lightness

107
Q

The degree by which a color appears to reflect more or less of the incident light, corresponding to lightness of the perceived color

A

Value

108
Q

The dimension of a color that is correlated with luminance and by which visual stimuli are ordered continuously from very dim to very bright

A

Brightness

109
Q

Pure __________ has the maximum brightness and pure __________ the minimum brightness

A

White ; Black

110
Q

Scale of achromatic colors having several, usually ten, equal gradations ranging from white to black

A

Gray Scale

111
Q

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

A

Reflected Color

112
Q

The absorption of certain wavelengths of the light incident on a colored surface, the remaining portion being reflected or transmitted

A

Selective Absorption

113
Q

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

A

Subtractive Color

114
Q

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

A

Additive Color

115
Q

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

A

Optical Mixing

116
Q

Designating a color inclined toward or dominated by red, orange, or yellow

A

Warm

117
Q

Designating a color inclined toward or dominated by green, blue, or vilolet

A

Cool

118
Q

A warm color that appears to move toward observer, giving an illusion of space

A

Advancing Color

119
Q

Cool color that appears to move away from an observer, giving the illusion of space

A

Receding Color

120
Q

Circular scale of the colors of the spectrum, showing complementary colors opposite each other; color circle

A

Color Wheel

121
Q

Any set of colors such as red, yellow and blue; regarded as generating all other colors

A

Primary Color

122
Q

A colors such as orange, green, or violet, produced by mixing two primary colors

A

Secondary Color

123
Q

A color, such as brown, produced by mixing two secondary colors, or a secondary color with one of its constituent primaries

A

Tertiary Color

124
Q

Arrangement or pattern of colors conceived of as forming an integrated whole

A

Color Scheme

125
Q

One pair of opposing colors on a color wheel perceived as completing or enhancing each other

A

Complementary Color

126
Q

One of two or three closely related colors on a color wheel

A

Analogous Color

127
Q

Combination of three colors forming an equilateral triangle on a color wheel

A

Triad

128
Q

Combination of one color and the pair of colors adjoining its complementary color on a color wheel

A

Split Complementary

129
Q

A combination of two analogous colors and their complementary colors on a color wheel

A

Double Complementary

130
Q

Having only one cool or exhibiting varying intensities and values of a single hue

A

Monochromatic

131
Q

Having or exhibiting a variety of colors

A

Polychromatic

132
Q

The Color Triangle was developed by __________

A

Faber Birren

133
Q

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

A

Color Triangle

134
Q

Intermediate value of a color between a tint and a shade

A

Tone

135
Q

Achromatic color between white and black

A

Gray

136
Q

Having no saturation and therefore no hue, such as white, black, or gray

A

Achromatic

137
Q

Relatively dark value of a colors produced by adding black to it

A

Shade

138
Q

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

A

RGB Color Model

139
Q

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

A

True Color

140
Q

Acronym for the four colored his used in printing process - cyan, magenta, yellow, and black

A

CMYK

141
Q

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

A

CMYK Color Model

Interior Design (6 decks)

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