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ID REVIEW for Boards > COLTHEO - basta Color Theory > Flashcards

COLTHEO - basta Color Theory Flashcards

1
Q

color is a mental sensation that can only occur if three requirements are fulfilled: observer, object, and sufficient light in the narrow band of wavelengths called ____________

A

Visible Spectrum

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2
Q

light sources emit the visible energy in pulses or waves; light travels at the same speed but waves of light energy are emitted at different distance apart, or ______________

A

Frequencies

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3
Q

the distance between peaks of these energy emissions is called _____________

A

Wavelength

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4
Q

wavelengths of light are measured in ____________

A

Nanometers

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5
Q

these are 2 objects that appear to match under one light source but not under another exhibits ___________

A

Metamerism

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6
Q

the objects under Metamerism is called a _____________

A

Metameric Pair

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7
Q

the perception that the colors of familiar objects remains the same no matter what the illumination may be

A

Color Constancy

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8
Q

a neurological condition in which stimulation of one sensory or cognitive pathway leads to automatic, involuntary in a secondary sensory

A

Synesthesia

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9
Q

an individual’s perception of numbers and letters is associated with the experience of colors

A

Grapheme-Color Synesthesia

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10
Q

color is experienced as a result of a musical sound such as sound, pitch, tone, key, and timbre

A

Sound-to-Color Synethesia or Chromesthesia

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11
Q

the inability or decreased ability to see color, or perceive color differences, under normal lighting conditions

A

Color Blindness

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12
Q

learning to distinguish in every color sample three objective attributes

A

Eye Training

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13
Q

the instability of colors cannot be eliminated but with awareness and skill it can be minimized, even utilized

A

Color Control

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14
Q

the ability to predict and control, to extent possible, color effects and the ability to select and use colors that will enhance every product and page

A

Color Competence

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15
Q

undiluted colors; true colors of the spectrum

A

Hue

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16
Q

greek word for color

A

Chroma

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17
Q

color with hue

A

Chromatic

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18
Q

color without hue

A

Achromatic

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19
Q

color having many hues

A

Polychromatic

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20
Q

color having one hue only

A

Monochromatic

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21
Q

color using pure hues only

A

Prismatic

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22
Q

any linear series of hues in spectrum order; it can illustrate pure saturated color or more complex, diluted colors

A

Chromatic Scale

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23
Q

a combination of unequal proportions of all the primaries

A

Broken Hue

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24
Q

__________ are some examples found in nature, sometimes known as “earth colors”

A

Russet, Gold, Ecru

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25
Q

color arrangements or structures that enable us to organize and predict such color reactions and interactions

A

Color Wheel

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26
Q

it’s the basis for working with subtractive color; it imparts information about the reactions colors have when they are actually mixed

A

Pigment Wheel

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27
Q

consists of 3 unique colors: red, yellow, blue

A

Primary Colors

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28
Q

3 colors are produced from the mixing of one primary color with another: orange, green, violet

A

Secondary Colors

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29
Q

these types of colors are created when mixing one primary and one secondary color

A

Tertiary/Intermediate Colors

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30
Q

in contrast with the pigment wheel, this gives us three basic primaries: yellow, magenta, and cyan, that do upon mixing, result in purer hues

A

Process Wheel

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31
Q

based on the additive color system and provides information concerning light rays and transparent color

A

Light Wheel

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32
Q

usually related to blue; recede and suggest sky, water, distance, foliage, shadows; quiet, restful, far, airy, and light

A

Cool Hues

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33
Q

color with the coolest hue

A

Blue-Green

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34
Q

appear heavier, and when compared the differing visual weights influence their surroundings; suggests aggression, sunlight, heat, blood, arousal, and stimulation

A

Warm Hues

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35
Q

color with the warmest hue

A

Red-Orange

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36
Q

the lightness and darkness of a color

A

Value

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37
Q

color with the presence of white; the lighter shade of color; high-key color scheme

A

Tint

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38
Q

color with the presence of black; the darker shade of color; low-key color scheme

A

Shade

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39
Q

the intensity, brightness or dullness of color

A

Saturation

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40
Q

addition of gray to pure hue

A

Tone

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41
Q

changing a pure hue by lightening, darkening, or muting by the use of additives such as white, black, gray, or its complement

A

Dilution

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42
Q

a step of change between color samples

A

Intervals

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43
Q

can be achieved when two sets of color are joined by a third that is perfectly balance between them

A

Transparence

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44
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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45
Q

the point at which an individual can no longer detect a difference between two close samples

A

Threshold

46
Q

the ability to detect differences between wavelengths of light

A

Visual Acuity for Color

47
Q

any of a range of combinations of colors in which a style or design is available

A

Colorway

48
Q

use of conflicting, unrelated colors; disturbing; can be dynamic & exciting

A

Dissonance

49
Q

the visual agreement of all parts of a work

A

Color Harmony

50
Q

one hue/harmony based on one hue

A

Monochromatic

51
Q

using 2 or 3 hues that lie side-by-side on the color wheel

A

Analogous

52
Q

colors that lie on either sides of its complement

A

Direct Complementary

53
Q

one side next to the direct complement

A

Near Complementary

54
Q

2 colors on the side of its complemented color form a Y-shape arrangement

A

Split Complementary

55
Q

2 pairs of complementary colors

A

Double Complementary

56
Q

combination of 3 equidistant hues in the color wheel

A

Triadic

57
Q

combination of 4 equidistant hues in the color wheel

A

Tetradic

58
Q

process of mixing pigments together, such as we see in paintings; more light is absorbed and less is reflected - hence the term ___________

A

Subtractive Color

59
Q

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

A

Partitive Color

60
Q

material that changes the light absorption characteristics of another material: dyes and pigments

A

Colorant

61
Q

natural or artificial colorants that absorb but usually do not scatter light

A

Dyes

62
Q

natural or artificial colorant that only absorbs but also scatter light

A

Pigment

63
Q

a liquid, paste, wax, or other substance that holds particles of pigments

A

Vehicle

64
Q

the process of mixing colored light as such in theatrical lighting or television; lights are mixed by placing colored filters in front of a projected light ray

A

Additive Color

65
Q

mode of color display imitates the results of mixing process colors

A

CMYK Mode (Cyan, Magenta, Yellow, Black)

66
Q

mode of color display that parallels the behavior of light

A

RGB Mode (Red, Blue, Green)

67
Q

displays a color map; requires learning to mix color in a way that is associated only with digital design

A

HSV Mode (Hue, Saturation, Value) or HSL (Hue, Saturation, Lightness)

68
Q

the range of colors reproduced in a color mode

A

Gamut

69
Q

an informal standard of 216 colors that are generally considered ___________

A

Web Safe Colors

70
Q

prefaced with a #; the first two characters represent the red value, the next two represent green, and the last two represent blue; 16 values by 0, 1, 2, 3, 4, 5, 6, 7, 8, 9, A, B, C, D, E, F

A

Hexadecimal Color Codes (Hex Colors)

71
Q

the setting or correcting of a measuring device or base level, usually by adjusting it to match or conform to a dependably known and unvarying measure

A

Calibration

72
Q

standardized color reproduction system; to make sure colors match without direct contact with one another

A

Pantone Color Matching System

73
Q

occurs when a ray of light strikes a surface; the energy from the light is transferred to the surface material

A

Absorption

74
Q

mostly unimpeded passage of light through a transparent object

A

Transmission

75
Q

process by which the light arriving at a smooth-surfaced material change their direction of travel on impact and are returned

A

Reflection

76
Q

the change of direction suffered by radiation on impact with a rough-surfaced material

A

Scattering

77
Q

the bending of a beam when it enters a medium where its speed is different

A

Refraction

78
Q

temporary splitting the light waves into parts that are later recombined; examples are oil film on water or soap bubble

A

Interference

79
Q

a special case of the combined effect of scattering and interference; the narrower the gap, the larger the ____________

A

Diffraction

80
Q

an optical phenomenon that occurs with reflected light; amplifies some wavelengths of light

A

Iridiscence

81
Q

used often to characterize very light-reflecting colors and media with a great deal of light reflectance, like watercolors, dyes, and markers

A

Luminosity

82
Q

state or quality of shining by reflecting light; examples are glitter, sparkle, sheen, or gloss

A

Luster

83
Q

combined qualities of high light-reflectance and strong hue found in saturated colors and strong hues

A

Brilliance

84
Q

a quantitative measure of the ability of a light source to reproduce the colors of illuminated objects accurately

A

Color Rendering Index (CRI)

85
Q

the visual sensation caused by excessive and uncontrolled brightness; it can be disabling or simply uncomfortable

A

Glare

86
Q

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

A

Disability Glare

87
Q

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

A

Discomfort Glare

88
Q

quantity of light reflected by a surface when illuminated by a light source; quantifies the lightness and darkness of a colored surface

A

Light Reflectance Value (LRV)

89
Q

color appearance of the light source and the light emitted from it; numerical value assigned to the color emitted by a light source, measured in degrees of Kelvin

A

Color Temperature (K)

90
Q

light is transmitted

A

Transparent

91
Q

light is sometimes transmitted

A

Translucent

92
Q

light is neither transmitted/absorbed

A

Opaque

93
Q

a Greek philosopher attempted to explain the composition of colors and how they were related

A

Aristotle

94
Q

an Italian theorist that set out his beliefs on color theory in his Treatise on Painting; according to him, black and white were indeed colors

A

Leonardo da Vinci

95
Q

an English physicist interested purely in the physics of color rather in the perception; discovered that as a ray of white light passes and is bent, or refracted, through a prism it is broken into an array of colors

A

Sir Isaac Newton

96
Q

an English entomologist and engraver; red, yellow, and blue are primary hues, which he termed “primitives;” Harris wheel was divided into 18 equal hue divisions and each was then graded by value, light to dark

A

Moses Harris

97
Q

a German poet, one of the first modern thinkers to investigate and record the function of the eye and its interpretation of color; explored every aspect of color and its reactions, including the role of complementary colors in creating shadows, contrast, and proportional color use

A

Johann Wolfgang von Goethe

98
Q

a German painter; arranged twelve hues in a spherical format giving us the first 3-dimensional color model

A

Philip Otto Runge

99
Q

a French chemist who was hired by the famous French tapestry-weaving studio to be its dye master; his greatest contribution was his recording of the reactions that colors have when placed side by side or in relationship to each other

A

Michel Eugene Chevreul

100
Q

an American who proposed that colors differed from one another as a result of three variables: purity (saturation), luminosity (value), and hue; experimented on optical mixing that occurs in pointillism

A

Ogden Rood

101
Q

an American-born color theorist that led to his system being adopted by the US Bureau of Standards as the acceptable language of color; developed a partitive color system based on five primary hues or as he termed them “principal color:” yellow, red, green, blue, and violet; color wheel to 3-dimensional form termed “tree”

A

Albert Munsell

102
Q

a Swiss teacher and artist best known to the color student for his book, “The Art of Color;” taught both color and design at the enormously influential Bauhaus school in Germany

A

Johannes Itten

103
Q

a teacher at the Bauhaus School; the teaching diagram that he used most often was a triangle

A

Josef Albers

104
Q

one of the oldest color names; the first to be seen in a rainbow; the color for passion and drama; universally signifies danger, courage, strength, and power

positive: love, luck, passion, sexiness, festivity, compassion, importance, feminine, sweet

negative: war, revolution and anarchy, the devil, danger, fire

A

Red

105
Q

color of sensitivity; the passion of red combined with the purity of white combined will associate it with love, tranquility, and femininity

negative: associated with being unrealistic, and overly optimistic

A

Pink

106
Q

color of encouragement; the combination of yellow and red makes it convey excitement, warmth, and enthusiasm; appealing to young people; stimulates appetite and is associated with healthy good

positive: fruitfulness, brightness, cheerfulness

negative: danger, gloom, melancholy, boredom, insincerity

A

Orange

107
Q

most easily perceived of hues, has the highest luminosity rating after white; the color of optimism, and sunshine that is uplighting and illuminating and associated with success and confidence

positive: cheerfulness, sun, gold, vitality, hope, warmth

negative: caution, sickness, betrayal, treason, age

A

Yellow

108
Q

color of ocean and sky; perceived constant in our lives; invokes rest and can cause the body to produce chemicals that are calming; the color of trust; thought to induce calm and convey tranquility, serenity, and peace

positive: royalty and aristocracy, heaven, coolness, truth, loyalty

negative: introversion, sadness, depression, wintery, low class

A

Blue

109
Q

color of growth and health; evokes a feeling of abundance and a plentiful environment while providing a restful and secure feeling

positive: environment, growth, fertility, freshness, nature

negative: poison, envy, immaturity, nausea, rawness

A

Green

110
Q

color of spirituality; energy of red + calmness of blue to create a color that inspired reflection and self-awareness; the color of the sensitive, compassionate intuitive soul - the introvert

positive: bravery, royalty, dignity, mystery

negative: conceit, mourning, death and rage

A

Violet

111
Q

color of mystery; it covers, hides, and implies that there is a barrier; a strong and powerful color that is formal and sophisticated, sexy and secretive

positive: sophistication, power, respect

negative: death, emptiness, depression, bad luck

A

Black

112
Q

ultimate lightness; all colors combined (light), and absence of color (pigment)

positive: purity, cleanliness, empowerment, innocence

negative: surrender, cowardliness, cover-up

A

White

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