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Restorative Art > Principals of Pigments > Flashcards

Principals of Pigments Flashcards

1
Q

A coloring matter which can be applied to an object.

A

Pigment

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2
Q

Used to duplicate the colors of the spectrum.

  • Mixtures of these colors will produce intermediary hues not seen in the spectrum.
A

Pigments

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3
Q
  • Range
  • Change
  • Impurities
  • Untable
  • Absorption of light-rays through admixture
A

Imperfections of Pigments

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4
Q
  1. Fewer in number than of the colors in nature.
  2. Colors of certain objects cannot always be duplicated: stones, natural wood, skin.
A

Range

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5
Q
  1. Pigments will ____ with light and chemicals.
  2. Example: Sunlight, air, exhaust, sulphur
A

Change

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6
Q

Many pigments are not pure colors.

  • Example: Pigments may contain so much red that the other colors present are not identifiable until after the mixture.
A

Impurities

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7
Q

Colors may vary from purchase to purchase.

  • Examples: paint, wallpaper, tile
A

Unstable

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8
Q
  • Opposite of light
  • Pigments absorb light rays when mixed
    • Result in gray or black
A

Absorption of Light-Rays Through Admixture

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9
Q
  • Hue
  • Value
  • Intensity
A

Measurements (Dimensions) of Color

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10
Q
  • Name of a chromatic color
  • Qualifies it as to its warmth or coolness
A

Hue

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11
Q

The lightness or darkness of the color

A

Value

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12
Q

The pureness or dullness (grayness) of a color.

A

Intensity

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13
Q
  • Primary
  • Secondary
  • Standard
  • Intermediate
  • Tertiary
  • Neutral
A

Class of Hues

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14
Q

Three hues which can be combined to make all other hues.

A

Primary

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15
Q
  • Red
  • Yellow
  • Blue
A

Primary Hues

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16
Q

The illustrative symbol when drawing primary hues on a color wheel:

A

Triangle

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17
Q

An equal mixture of two primary hues.

A

Secondary

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18
Q
  • Orange
  • Green
  • Purple
A

Secondary Hues

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19
Q

Illustrative symbol of secondary hues when drawing them on the color wheel:

A

Inverted Triangle

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20
Q

It is the primary and secondary hues.

  • “Standard color wheel”
  • Red, yellow, blue, orange, green, purple.
A

Standard Pigmentary Hues

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21
Q

Mixture of a primary and adjacent secondary hue.

  • Appearance of each mixture: Midway between the primary and secondary hue.
A

Intermediate

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22
Q

Illustration of intermediate mixtures on the color wheel:

A

Use the Primary Color First in Identifying

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23
Q

An unequal mixture of opposite (complimentary) hues.

  • Results in brown and slates
  • Grayed hues (called tones)
A

Tertiary

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24
Q

Grayed hues

A

Tones

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25
Q
  • Names of colors: White, black, gray.
  • Decorative netural colors- Metallic colors of silver and gold.
A

Neutral (Achromatic)

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26
Q

The amount of hues on the color wheel.

A

12

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27
Q
  • When seen together- present the most vivid contrast.
  • When mixed equally- cancel each other out.
A

Compliments (Opposites)

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28
Q
  • Water- Blue
  • Grass- Green
  • Fire- Orange
  • Sun- Yellow
A

Association From Nature (Warm and cool hues)

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29
Q

Red, yellow, orange or any intermediate hue in which they predominate.

  • Orange is the most
A

Names of Warm Hues

30
Q

Have longer wavelengths.

A

Warm Hues

31
Q

Size and distance illustrations with warm hues.

A

Make Objects Seem to Advance

32
Q

Active or cheerful.

A

Psychological Associations of Warm Hues

33
Q

Relfects heat waves.

A

Heat- Warm Hues

34
Q

Blue, green, purple, or any intermediate hue in which they predominate.

A

Names of Cool Hues

35
Q

Have shorter wavelengths.

A

Cool Hues

36
Q

Make objects seem to recede.

A

The size and distance illustrations of cool hues

37
Q

Quiet, peaceful, depressing.

A

Psychological Associations- Cool Hues

38
Q

Absorbs heat.

A

Heat- Cool Hues

39
Q

The dividing line of the color wheel into warm and cool groups:

A

Y/YG + RP/P (12:30 + 6:30)

40
Q

Afford the greatest visual contrast.

A

Comparison of Opposites - Warm and Cool

41
Q

Lightness or darkness of the hue.

A

Value

42
Q
  • Process
  • Tint
  • Shade
  • Value Cones
A

Changing the Value of any Hue

43
Q

Nine levels between white and black formed by the mixture of black and white in varying proportions.

A

The Gray Scale

44
Q
  • Most- high levels (7,8,9) (light grays)
  • Least- Low levels (1,2,3) (dark grays)
A

Reflectance Characteristics (Gray Scale)

45
Q

Mix various amounts of either white or black to the hue.

A

Process

46
Q

Hue mixed with progressive quantities of white.

A

Tint

47
Q

Weakens the brillance but raises the value.

A

Effect of Tint on the Hue

48
Q

Hue mixed with progressive quantities of black.

A

Shade

49
Q

Weakens the brillance but lowers the value.

A

Effect of Shade on the Hue

50
Q
  • Red- pink, rose, cherry, coral
  • Yellow- Lemon, cream, ivory
  • Blue- Sky, baby, robins egg
  • Orange- Salmon, amber, peach
  • Green- Apple, pea, lime
  • Purple- Lavender, orchid
A

Illustration of Tint

51
Q
  • Red- Burgundy, cordovan, maroon
  • Yellow- Mustard
  • Blue- Navy, royal, midnight
  • Orange- Burnt-orange, tobacco, copper
  • Green- Jade-green, forest, hunter
  • Purple- Plum, grape, prune
A

Illustration of Shade

52
Q
  • Tint cone
  • Shade cone
  • Axis of the adjoined cones
A

Value Cones

53
Q

Color wheel forms the lip, the apex is white, as each hue rises, the value changes to lighter tints.

A

Tint Cone

54
Q

The cone is inverted, the apex is black, as each hue descends it becomes darker.

A

Shade Cone

55
Q

This is the gray scale.

  • Class of color betwen the axis and the periphery of either cone- Tertiary colors (tone)
A

Axis of the Adjoined Cones

56
Q

Pureness or dullness (grayness) of hue.

A

Intensity

57
Q

Grayed hue including brown.

A

Description of Tone

58
Q

Becomes pleasant with subdued brillance.

A

Effect of Reduced Purity (Tone)

59
Q
  • Admixture of the hue with the complement
  • Admixture of the hue with a gray pigment (direct method)
A

Methods of Reducing Purity (Intensity)

60
Q

Mixture of two hues which make gray.

A

Complements

61
Q

Opposites on the color wheel.

A

Location of Complements

62
Q

Symbol used to signify complementary colors

A

⇔

63
Q

Admixing complements in equal amounts makes:

A

Gray

64
Q

Admixture of complements with an excess of the warm hue makes:

A

Brown

65
Q

Admixture of complements with an excess of the cool hue:

A

Slate

66
Q

Any two hues placed side by side influence the appearance of each other.

A

Juxtaposition

67
Q

If non-complements are juxtaposed, they ____ each other.

A

Dull

68
Q

If complements are juxtaposed, they appear more ____.

A

Vivid

69
Q

Intensify the brilliance of each other.

A

Effect of Pure (Complementary) Hues on Each Other

70
Q

Reduce the brilliance of each other.

A

Effect of Grayed (complementary) Hues on Each Other

Restorative Art (37 decks)

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