RA 2 Color Flashcards

1
Q
  • Color is a property of ___, without it, color does not exist
  • ___light is a mixture of light rays of all colors.
  • ___has no color of its own but has the ability to absorb certain rays and reflect others that are responsible for the pigment’s characteristic color.
  • If all wavelengths of light are absorbed, we see ___object,
  • If all are reflected, we see a ___object.
  • Color is determined by the color of the light waves ___(not absorbed).
A

light

White

Pigment

black

white

reflected

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2
Q

lens refracts light to converge on the retina. Nerves transmit the image.

A

Retina:

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3
Q

the long rod-shaped sensory bodies of the retina of the eye responsive to light but not color. Nerve cells in the retina. Very sensitive to light & dark.

A

Rods of the eye:

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4
Q

sensory nerves in the retina of the eye having to do with color detection. Nerve cells help to see light/color.

A

Cones on the eye:

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5
Q

Where does color come from?

A

Colors are defined as a visual sensation. It is the response of the light of specific wave length or radiant energy which strikes the retina of the closed eye. The eye then transmits the impulses to the brain. The rods and cones of the retina are the structures of the eye responsible for distinguishing color preceptor.

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6
Q

When a beam of sunlight is passed through a prism, it is broken down into 7 individual colors called a ___as it exits o the opposite side of the prism.

A

spectrum

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7
Q

The colors of the spectrum can be recalled by

A

R.O.Y. G. B.I.V (red, orange, yellow, green, blue, indigo and violet). Indigo is also called purple.

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8
Q

the progressive arrangement of colors (ROY G BIV) when a beam of light is broken down into component colors. We perceive color due to the absorption or reflection of light off the objects we are looking at.

A

Spectrum:

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9
Q

colored object absorbs rays of light which illuminate it while others are reflected

A

Absorption:

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10
Q

return of light from a surface

A

Reflection:

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11
Q

• The breaking up of white light (sunlight) into its many colors is called ___ and was discovered by Isaac Newton.

A

dispersion

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12
Q

adding 2 or more colored lights together to create another color of light.

A

Additive Color/Method:

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13
Q

process of mixing colored lights on a surface in which the wavelengths of each are combined;
•These are the color obtained by emitted light
•Associated with television and computer displays

A

Additive Color/Method:

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14
Q

The breaking up of white light (sunlight) into its many colors

A

Dispersion:

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15
Q

return of light waves from surfaces, the bending or folding back of a part upon itself.

A

Reflection:

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16
Q

Ability of objects to selectively reflect some of the color rays of the visible spectrum.

A

Reflection:

An object appears blue because it reflects blue light waves. When all the light waves are reflected, we see white.

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17
Q

When additive primary colors (Red + Blue + Green) are combined they produce ___

A

white

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18
Q

process of taking in, as in a colored object which absorbs certain rays of light and reflects other rays giving the object its recognizable color.

A

Absorption

an apple is called red if the red rays are reflected and the other rays in the light are absorbed

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19
Q

refers to absorbing the light waves. When all the light waves are absorbed (and none are reflected) we see black.

A

Absorption

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20
Q

•Substances that can be ground into fine powder and used for adding color to dyes and paints
•Originally derives from animal, mineral, and vegetable sources Example:
o Purple from shellfish
o Red dye from the dried bodies of scale insects

A

Pigments

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21
Q
  • Circle in which primary, secondary, and intermediate hues are arranged in orderly intervals
  • Basic tool we used when working with pigmentary colors
A

The Color Wheel (Prang System)

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22
Q

___ hues in the spectrum of color

A

12

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23
Q

can be combined to make all other hues. All colors originate from these 3 hues. Cannot be produced by mixture of other hues.

A

3 Primary Hues

Red, Yellow, Blue

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24
Q

Mixture of 3 primary hues (Red, Yellow, Blue) in equal amounts produces ___

A

gray

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25
Q

equal mixtures of 2 primary hues

A

3 Secondary Hues

Green, violet, and Orange

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26
Q

equal mixtures of a primary and secondary color. Named by Primary color first

A

6 Intermediate Hues

Red-violet, Red-orange, Yellow-green, Yellow-orange, Blue-green, Blue-violet

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27
Q

mixture of 2 secondary pigmentary hues or an unbalanced mixture of complements with the warm hue predominating.

A

Tertiary Hue:

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28
Q

___ and ___ hues are not found in the color wheel

A

Browns

gray

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29
Q

colors directly opposite on the color wheel. When seen together they present vivid contrasts.

A

Complements

Yellow & Purple, Yellow Green & Red Violet, Red & Green, Blue Green & Red Orange, Blue & Orange, Yellow Orange & Blue Violet.

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30
Q

Any two Complements hues which by their mixture produce ___

A

gray

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31
Q

The complement of any primary color is a ___

A

secondary color

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32
Q

The complement of any secondary color is a ___.

A

primary color

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33
Q

The complement of any intermediate color is an ___.

A

intermediate color

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34
Q

A complement of a ___ color is the mixture of the remaining 2 primary colors.

A

primary

Red > Yellow + Blue = Green

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35
Q

A complement of a ___ color is the mixture of the remaining 2 secondary colors.

A

secondary

Orange > Yellow + Red = Blue

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36
Q

Temperature

A

To determine warm and cool colors, take a color wheel and divide it in half by a line running between yellow and yellow green and violet and red violet. The hues to the left of the line are warm colors and the hues to the right are cool.

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37
Q

color that is characterized by long wavelengths; makes object appear closer and larger and reflects warmth.

A

Warm Hues:

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38
Q

____ is the warmest hue. Red, yellow, and orange. They make objects appear clear, appear closer and larger.

A

Orange

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39
Q

color that is characterized by short wavelengths; creates the impression of coldness and makes an object appear to recede. It have a warm compliment.

A

Cool Hues:

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40
Q

___ is the coolest hue. Blue, green or purple. They make objects appear cold, receded, more distant.

A

Blue

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41
Q

Variations of one hue. Tint, tones and shades of one hue.

A

Monochromatic

42
Q

Temperature

A

•To determine warm and cool colors, take a color wheel and divide it in half by a line running between yellow and yellow green and violet and red violet. The hues to the left of the line are warm colors and the hues to the right are cool

43
Q

2 or more hues that have same hue in common. They are adjacent/next door neighbors because they live side by side on the color wheel.

A

Analogous:

Red/Red-Orange/Orange and Yellow-Orange or Blue-Green/Blue and Blue-Violet

44
Q

any 2 hues seen together which modify each other in the direction of their complements

A

Juxtaposition:

45
Q

color having hue; as one related to a color of the visible light spectrum

A

Chromatic Color:

46
Q

color not found in the visible light spectrum; have no hue; a neutral color such as white, black, gray, silver, and gold

A

Achromatic Color:

47
Q

transmitting rays of light through its substance so that bodies situated beyond or behind can be distinctly seen

A

Transparency:

48
Q

transmitting light but causing sufficient diffusion to eliminate perception of distinct images; somewhat transparent.

A

Translucent:

49
Q

state of being opaque (not transparent or translucent; not allowing light to pass through a concealing cosmetic)

A

Opacity:

50
Q

3 Dimensions of Color

A
  1. Hue:
  2. Value:
  3. Chroma (Intensity):
51
Q

is the color we see, property of a color distinguished from another. identifies a color by name.

A

Hue

52
Q

is the lightness or darkness of a color. A light value is high and a dark value is low.

A

Value

53
Q

You can’t see hue in a black and white movie but you can see ___. By adding white, gray, or black (maroon is a dark value of red and pink is a light value of red)

A

value

54
Q

hue into which various quantities of white are mixed. The white dilutes the color lightening its value

A

Tint:

White added to a hue creates a tint

55
Q

hue into which various quantities of black are mixed. The black darkens the value.

A

Shade:

Black added to a hue creates a shade

56
Q

is the brightness or intensity (amount of strength) of the color. Describes the degree of purity of the brightness or dullness. Amount of hue a color possesses. (some reds appear bright and clear while others appear muddy or dull)

A

Chroma (Intensity):

57
Q

hue mixed with either a small quantity of gray or the complements of the hue resulting in a dulling of the hue making it more neutral and less intense.

A

Tone:

Gray added to a hue creates a tone

58
Q

b. Degree of intensity, strength, saturation, or purity of a color.
c. Purity of a color refers to its freedom from white, black or gray.

A

Chroma (Intensity):

59
Q

When our eyes are exposed to a color for a prolonged period, the rods & cones become fatigued;
psychological; a visual impression remaining after the stimulus has been removed

A

After-image:

60
Q

soft, quiet, gentle feeling

A

Light colors:

61
Q

seriousness, weight, depth

A

Darker colors:

62
Q

energetic, youthful, friendly

A

Clear tones:

63
Q

excite, draw attention

A

Bright colors:

64
Q

refinement, seriousness, sophistication, dullness

A

Muted tones

65
Q

somberness, even depression

A

Dull muddy:

66
Q

purity, innocence, peace

A

White:

67
Q

sophistication, gloom, mystery

A

Black:

68
Q

maturity, modesty, dignity

A

Gray:

69
Q

love, passion, vigor, competitiveness, activity

A

Red:

70
Q

youth, hope, intellect, cheer

A

Yellow:

71
Q

harmony, honor, dignity, calm, power

A

Blue:

72
Q

danger, daring, energy

A

Orange:

73
Q

nature, faith, stability, rest

A

Green:

74
Q

royalty, drama, wisdom, maturity

A

Purple:

75
Q

sensitivity, dependability, conservatism

A

Brown:

76
Q

___ is a visual sensation stimulated by rays of light of a definite wavelength on the retina of the eye.

A

Color

77
Q

Light has wavelengths recognized by the human eye are between ___ millimicrons and in the rainbow of colors of the spectrum

A

400 and 700

78
Q

___ light has the longest wavelength (between 600 and 700 millimicrons) and the ___ frequency.

A

Red

shortest

79
Q

___ light has the shortest wavelength (between 500 and 600 millimicrons) and the ___ frequency while between them is ___ which is between 500 and 600 millimicrons.

A

Blue

shortest

highest

green

80
Q

The color of an object is dependent upon the hue it ___ and the illumination it ___.

A

reflects

receives

81
Q

Types of Light

A
  1. Incandescent Light

2. Fluorescent Light

82
Q

that light produced by electric current running through a filament bulb. Bulb used in most lamps. High in yellow.

A

Incandescent Light

83
Q

long tubular bulb where phosphors changes the electric current into light.

A

Fluorescent Light

84
Q

a. Most funeral homes use some form of___ in the viewing room.
b. Examples: torchiere lights, tall table lamps at head & foot of casket

A

incandescent lighting

85
Q

c. Common practice to use full or partially painted ___ in these 2 types of lamps. ___ possess a red base with a soft graduation of pink on the remainder of the bulb.

A

incandescent bulbs

Red neck bulbs

86
Q

d. Another type of lighting that is commonly found in viewing rooms is ___ located over the area where the casket is placed. Brightness of these lights is controlled by ___.

A

recessed ceilings lights

rheostat

87
Q

Dimensions of Color Illumination

A
  1. Hue
  2. Chroma (brightness):
  3. Saturation
88
Q

color of the illumination given off by the bulb. Can be white by using regular or soft light bulbs, or can be colored using fully or partially colored bulbs. Color can also be produced by shining white light through transparent films held in front of the bulb.

A

Hue Illumination

89
Q

brightness of illumination. Brightness is usually determined by the wattage of the bulbs. A 100-watt bulb is brighter than a 60-watt bulb.

A

Chroma (brightness) Illumination

90
Q

visible aspect indicating the vividness of the hue in the degree of difference from a gray of the same lightness.

A

Saturation Illumination

91
Q

___ is one in which the hue is pure and vivid and is not changed in its brightness aspect or diluted with its complement.

A

Fully saturated color

92
Q

___ is when there is an excess of one of the complements and very little of the other

A

Unsaturated color

93
Q

the systemic arrangement of colors which produce a pleasant visual effect.

A

Color harmony

94
Q

In color harmony, 2 or more hues which have the same hue in common is ____. Relates to the selection of a group of colors that are similar (analogous) and blend well together. Select main color and then select 2 adjacent colors next to main color rather 1 color on either side or 2 colors from 1 side.

A

analogous color harmony

95
Q

In color harmony, all shades, tones and tints of one hue is ____. It essential means that we using different tones, tints, shades of a single (mono) color (chromatic) by taking that 1 color and add more black, white, or grey to it.

A

monochromatic color harmony

96
Q

In color harmony, colors directly opposite on the color wheel. When seen together they present vivid, high contrasts image is ___ . Select main color then select another color opposite of your selected color. It helps make something stand out.

A

complimentary color harmony

97
Q

In color harmony, 3 hues apart on the color wheel is ____. Select main color then select 2 other colors that are evenly spaced from your main color. Present a vibrant image with high contrast.

A

triadic color harmony

98
Q

three (3) hues, the dominant hue with the two (2) hues on either side of its compliment.

A

Split compliment

99
Q

four (4) hues, two (2) adjacent hues and their compliments.

A

Double compliment

100
Q

two (2) separated hues and their compliments.

A

Tetrad

101
Q

three (3) hues apart on the color wheel.

A

Triad

102
Q

opposites on the color wheel.

A

Complimentary