Floral Design Chapter 8 Color

Question 1

Achromatic color scheme

Answer 1

• One of the three types of Related color schemes.
• Means, “One without color”, generally an all white bouquet.
• Made more interesting by varying the types, sizes, forms and textures of the white flowers, insignificant differences in an all-white bouquet become more noticeable and important. p. 144, 186

Question 2

Alternate-complement color scheme

Answer 2

• One of the four types of Discordant color schemes.
• Incorporates a triad, plus one direct complement to any one of the three hues.
• i.e. Select a triad of secondary colors: purple, orange, green. Combine any one of the complements of a color in that triad, such as yellow which is the complement to purple, or blue of orange or red of green.
• Color proportions and values should be varied for visual rest. p. 148

Question 3

Balance - visual - physical

Answer 3

• Used esp. in asymmetrical designs.
• Dark value or, bright intensity colors appear heavier than light, dull colors and should be near the rim / base of arrangement contrasted with lighter, subdued colors.
• The brighter, darker the color the fewer are needed.
p. 142-143, 152-157, 322-323

Question 4

Chroma

Answer 4

• Also called Intensity, or Saturation. Intensity refers to the brightness or concentration of a color. p. 136

Question 5

Color wheel

Answer 5

• Every color has three basic properties: hue, value and intensity.
• Each color on the color wheel is called a Hue.
• The color wheel has 12 hues divided into three categories:
•the primary colors - red, yellow and blue often called the foundation colors
•the secondary colors - orange, green and violet - made up of a combination of two primary colors
•the tertiary colors or intermediate colors - created by mixing a primary with an adjacent secondary color.
• The six tertiary colors have hyphenated names from their ‘parent’ colors. Red-orange, yellow-green, blue-violet.
p. 135-136

Question 6

Complementary color scheme

Answer 6

• One of the three types of Contrasting Color Schemes
• Two hues directly opposite from each other on the color wheel.
• Juxtaposed they intensity and complement each other.
• i.e. red & green, yellow & purple, blue & orange. They can use varying tints, tones, and shades.
• The arrangements are lively using warm and cool colors causing emotional excitement and enhances visual depth.
p. 146

Question 7

Contrasting color scheme

Answer 7

• Have variety, tending to be more visually exciting b/c the colors used are from distant parts of the color wheel.
TYPES of CONTRASTING COLOR SCHEME
• complementary
• split-complementary
• triadic
• with unrelated colors it is vital to use correct color proportions and color placement or looks thrown together and disjointed.
• p. 145-147, 163-164

Question 8

Cool colors

Answer 8

• Blue, green, violet, and colors predominately featuring these colors.
• Cool b/c associated with water, ice and grass.
• Are restful, peaceful and soothing.
• Are quiet, melancholy feelings & considered ‘less friendly’.
• Cool colored objects/flowers recede, move away from viewer, look smaller than they actually are, fade into background, cannot be seen from a distance.
• Appear ‘formal’ often display a lack of unity. p. 137-138, 143f

Question 9

Depth

Answer 9

• Depth can be maximized by using combinations of warm & cool colors.
• Warm colors advance, cool colors recede into background.
• Visual advancing and receding of warm & cool colors adds visual excitement and strengthens the awareness of visual depth. p. 143, 180-182

Question 10

Discordant color scheme

Answer 10

• Use four or more different, unrelated colors that are widely separated on the color wheel.
• Requires thought and planning, so they will not clash next to each other.
• To be dynamic the values, intensities, and proportions should be varied.
TYPES of DISCORDANT COLOR SCHEMES
• double-complement scheme
• alternate-complement scheme
• tetrad scheme
• polychromatic scheme
p. 147-148

Question 11

Double-complement color scheme

Answer 11

• One of the four types of Discordant color schemes.
• Uses four colors which can be any two pairs of complements.
• i.e. yellow & purple combined with blue & orange
• This color scheme doubles the possible combinations of colors.
• With the variety of hues in one bouquet it has tremendous diversity in visual effects. p. 147-148

Question 12

Emphasis

Answer 12

• Color is the most effective way to add emphasis or a focal point. p. 143, 161

Question 13

Focal Point

Answer 13

• Color is the most effective way to add emphasis or a focal point.
• Focal points can include using a larger or interesting flower shape, but color is the element that demands attention. Bright colors, dark or heavy colors attract the eye.
• Warm colors with their advancing properties attract over cool colors.
• Focal points can be created by using a contrast in color. p. 143, 161-168

Question 14

Foundation colors

Answer 14

• Foundation colors = Primary colors
• Red, yellow and blue.
p. 135-136

Question 15

Harmony

Answer 15

• Can be created with color
• Harmony & unity are achieved by the repetition of color throughout the design.
• Repeat of colors in flowers & objects blends harmoniously and displays a unified composition. p. 124-129, 143

Question 16

Hue

Answer 16

• One of the three basic properties of color, (hue, value, & intensity).
• Hue is the property that gives the color its name, such as red, blue, yellow or green.
• This property sets each color apart from all the others. p. 135

Question 17

Intensity

Answer 17

• Sometimes called chroma or saturation.
• Refers to the brightness or concentration of a color.
• Complementary colors placed next to each other intensify and make each color appear brighter. p. 136, 164

Question 18

Intermediate colors

Answer 18

• The six tertiary colors, (or intermediate colors) are two-color names such as; red-orange, blue-green, …
• intermediate colors are created by mixing a primary color with an adjacent secondary color.
• p. 136, 171f

Question 19

Monochromatic color scheme

Answer 19

• One of the three types of Related color schemes.
• Mono means, “one”, chroma meaning “color”.
• Involves use of a single hue.
• To prevent monotonous designs individual hues can include a wide range of values and intensities.
• Use varying sizes, shapes textures, and patterns. p. 144, 145f, 186, 187f

Question 20

Neutral colors

Answer 20

White, black and gray may be added without changing the name of a color scheme.
• p. 144

Question 21

Polychromatic color scheme

Answer 21

• One of the four types of Discordant color schemes.
• Poly meaning, “many”, Chroma meaning, “color”.
• Use of many varied hues, incorporating related and unrelated.
• Is highly dynamic.
• To not appear disjointed or disorganized coordinate the values of each hue in the scheme (or all colors at the same value level).
• i.e. colors that are all bright and intense, or all toned down pastels, or all bright tints, or all deep shades.
• The coordinated value level of the diverse colors will bring unity to the composition. p. 149

Question 22

Primary colors

Answer 22

• The three primary colors are red yellow and blue. p. 135-136, 147

Question 23

Related color scheme

Answer 23

• Are based on a common hue that acts as a unifying element.
• The colors may be of variations of only one hue, or may be variations of several adjacent hues on the color wheel.
TYPES OF RELATED COLOR SCHEMES
•achromatic - “without color”
•monochromatic - “one color”
•analogous - “similar, adjacent hues, tints, tones, shades”
p. 144

Question 24

Rhythm

Answer 24

• Visual movement attained by use of similar colors

* Use corresponding colors at the focal point and throughout the design inviting eye movement. p. 143, 168-171

Question 25

Saturation

Answer 25

• Also called Intensity or chroma.
• Refers to the brightness or concentration of a color.
• Complementary colors placed next to each other intensify and make each color appear brighter. p. 136, 164p. 136

Question 26

Secondary colors

Answer 26

• The three secondary colors are: orange, green and purple. p. 135-136, 147, 148f

Question 27

Shade

Answer 27

• In paint, value can be changed by adding black or white to a hue.
• Adding black darkens a color and produces what is called a shade. p. 136

Question 28

Split-complementary color scheme

Answer 28

• One of the three types of Contrasting Color Schemes

* p. 146

Question 29

Tertiary colors

Answer 29

• The six tertiary colors, (or intermediate colors) are two-color names such as; red-orange, blue-green, … and are intermediate colors created by mixing a primary color with an adjacent secondary color. p. 136

Question 30

Tetrad color scheme

Answer 30

• One of the four types of Discordant color schemes.

p. 148-149

Question 31

Tint

Answer 31

• In paint, value can be changed by adding black or white to a hue.
• White lightens a color and produces a tint. p. 136

Question 32

Tone

Answer 32

• Intensity refers to the brightness or concentration of a color.
• A low intensity or neutralized version of color is a tone.
• Dulling a pure hue to make a tone may be accomplished by adding gray to a hue.
• Mixing a hue with the opposite or complementary color on the wheel will also result in a tone. p. 136

Question 33

Transition

Answer 33

• Another way to achieve unity is through transition.
• Transition is a gradual change from one element to another; arranged in a pattern that promotes continuous eye movement, or rhythm.
• Transition is best achieved by having: Intermediate colors, sizes, shapes, textures, and spacing within a design. p. 132, 143, 170-171

Question 34

Triadic color scheme

Answer 34

• One of the three types of Contrasting Color Schemes
• Means “involving three”.
• The three colors are ‘equidistant’, or equally spaced.
• Triads use colors that are unrelated, therefore difficult.
• Tints & shades of a triad can soften harshness of unrelated colors.
• Most common triad - primary colors or secondary colors. p. 147

Question 35

Unity

Answer 35

• Achieved through the repetition of color in a design.
• Related to harmony but slightly different in floral design. (Harmony is “the whole is more important than the parts”).
• The state of being one, united, complete in itself.
• Unity is achieved when all elements and parts, including the placement complement one another rather than individual parts competing for attention.
• Vital that the design is initially viewed and planned as a unit, not simply as a combination of parts.
• A lack of unity exists when an arrangement an be divided into chunks or separations. p. 129-132, 143

Question 36

Value

Answer 36

• Is another property of color.
• A measurement of the amount of light reflected by a colored object.
• Value refers to the amount of lightness or darkness of an individual hue. p. 136, 164

Question 37

Warm colors

Answer 37

• Are red, orange, yellow and various colors containing these three hues predominantly.
• Flowers and objects in warm colors dominate an arrangement, look larger, and appear to advance and move toward the viewer.
• Because warm colors look larger they can be seen from a distance.
• Generally are informal and blend easily with each other.
• Large amounts can be irritating to some viewers. p. 137-138, 143f

Question 38

Color Schemes

Answer 38

• Color schemes derived from the color wheel may be classified as:
• Related
• Contrasting
• Discordant
• Green, present in the foliage and stems is usually not included as one of the hues forming a scheme, unless it is consciously planned by the designer.

Question 39

Analogous

Answer 39

• One of the three types of Related color schemes.
• Means “similar in function, origin, and structure.”
• Applied to color wheel it refers to adjacent or neighboring hues.
• Use of several colors that are next to one another on the color wheel.
• Can be modified to include tints, tones, and shades of adjacent hues.
p.144-145