AD 150 Quiz 2

Monochromatic

An original hue that is combined with more or less saturated versions of itself, or with lighter or darker versions of itself.

Additive Color Mixing

The light primaries - red, green, and blue - are mixed to form the secondaries - cyan, magenta, and yellow. All three mixed result in white.

Subtractive Color Mixing

The artists' primaries - red, blue, and yellow - are mixed to form the secondaries - orange, green, and violet. All three mixed result in near-black.

Process Color Mixing

The process primaries - cyan, magenta, and yellow - are mixed to form the secondaries - red, blue, and green. All three mixed result in a dull dark gray. In CMYK "K" stands for black.

Perception

Determined by the assignment of particular colors to particular areas.

Titian

A renowned painter born between 1488 and 1490 in Pieve di Cadore, Italy. Known for his application of paint layers and influence on other artists.

Color Context

The perception of any individual color depends on what it surrounds. The study focuses on the interaction of colors and how one color affects another.

Analogous Experiment

(Temperature) A demonstration using pots of water to show how the perception of warm and cold can change based on context.

Afterimage

When staring at a color for a short period of time, the cones in the eyes become fatigued, resulting in a different perception of colors when looking at a white background.

Simultaneous Contrast

The phenomenon where adjacent colors can alter the way colors are perceived.

Joseph Albers

A prominent artist and educator known for his work on color theory and his series of prints called "Homage to the Square."

Change of Hue in Simultaneous Contrast

The surrounded color exhibits a change in hue when optically blended with the afterimage of the surrounding color, which is of a different hue.

Change of Chroma in Simultaneous Contrast

can be detected if the brilliance of the color seems enhanced or dulled when surrounded by a complementary hue

Complementary Contrast

Complementary colors, when mixed, yield a neutral. When adjacent, they excite one another to maximum vividness.

Value Dominance

The overall value of a composition changes based on the relative saturation of the incorporated hues.

Contrast Dominance

The overall contrast level of a composition changes based on the range of luminosity between chosen hues.

Impasto

a technique in painting, where paint is laid on an area of the surface thickly, where the brush strokes are visible

Chiaroscuro

a technique used to represent light and shadow as they define three-dimensional objects

Ocular

of or relating to the eye

Negative Image

a total inversion in which light areas appear dark and vice versa

Bezold Effect - Wilhelm von Bezold

occurs when the hue of a color is altered in appearance by the presence of surrounding colors

Triadic Colors

three colors evenly spread out on the color wheel

Complimentary Colors

colors that are on opposite sides of the color wheel; when mixed cancel each other white and make either white or black

Achromatic

lack of color (white, grey, black)

Trichromat

regular vision, uses all three colors (red, blue, green)

Linear Symmetry

repetition of an element or object along a line

Biaxial Symmetry

symmetry that occurs both horizontally and vertically

Asymmetry

an unbalanced arrangement of elements

Cornea

clear outer covering of the eye

Iris

the colored muscle of the eye that enlarges and contracts to control the amount of light entering the eye

Lens

focuses and bends the light so that it reaches the correct spot on the retina

Retina

back of the eye that contains photoreceptors (rods and cones) that receive light

Rods

photoreceptors in the retina that are responsible for vision in dim light conditions and have lower acuity and temporal resolution than cones

Cones

photoreceptors in the retina that are responsible for day vision, color vision, and have higher acuity and temporal resolution than rods