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74 terms

SFL 102 - Chapter 4

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Spectral light
The visible frequencies of energy that humans perceive as light and colors, as in a rainbow.
Spectral color
the wave bands of solar energy that correspond to visible frequencies. From longest to shortest wave length, spectral colors are red, orange, yellow, green, blue, and violet, as seen in a rainbow.
Colored pigments
A compound that is the coloring agent for apint, ink, crayons, chalk. Nonsoluble and held to surface with a resin binder.
Colored dyestuffs
Water soluable coloring matter used to make a dye bath solution
Subtractive color theory
The phenomenon in which the frequencies of light striking an object are absorbed, or 'subtracted' except for the frequencies corresponding to the colors with which the object is pigmented. the frequencies not absorbed are reflected, and we perceive them as colors.
Subtractive color mixing or optical color mixing
The phenomenon in which the frequencies of colors placed very near one another are blended. Subtractive color mixing is what enables us to perceive an almost infinite range of colors beyond the spectral colors.
Visaul acuity
An enhanced ability to see, and especially to distinguish colors
Visual deficiency
Inability to distinguish value (light and dark) of pairs of complements. Red and green, most common
Metamerism or metameric effect
A phenomenon in which colors appear different under different lighting due to the spectral energy distribution in the materials
Spectral energy distribution factors
The inherent color characteristics of an object or material due to the type and amount of dyes or pigments. This can cause the object or material to appear as different colors under different kinds of light; also describes the color of the light source.
Color theory
Theories of how color is made, what it's made of, how nature uses it, how people use it, etc.
M.E. Chevreul and his book, The principles of Harmony and Contrast of Colors
French chemist who was head of dyestuffs at Gobelin Tapestry Works near Paris. Researched and published theories that were forerunners to the Standard Color wheel theory.
Standard color wheel theory or palette theory
Based on 3 primary colors, red yellow and blue, and variations based on mixing these, plus black and white. Arranged in a circle with secondary/tertiary colors between the primary ones.
Prang theory
Another name for Standard color wheel theory
Primary hues
Red, yellow, blue, as based on standard theory.
Secondary hues
Green, orange, violet, as based on standard theory.
Intermediate hues
Six hues on standard wheel produced with primary and secondary mixed together. Also know as tertiary
Monochromatic color scheme
Using one color and its varieties, plus black and white.
Analogous color scheme
Using colors next to each other on the standard wheel. Contains 3-6 adjacent colors
Complementary colors
Colors opposite on the wheel. Greatest contrast. Make each other more vivid.
Direct complement colors
Straight across
Split complements
Consists of a hue and two colors next to its opposite.
Triadic complements
3 colors equally spaced on color wheel
Double complements
2 sets of direct complements next to each other on wheel.
Tetrad complements
Variation of direct complementary scheme - four colors that are equally spaced on wheel
Alternate complements
4 color scheme - combines triad w/ direct complement of one of the hues.
Munsell theory, Albert H. Munsell and his book, Color Notation
American colorist. System based on hue, value, and chroma notation.
Hue
Another word for color.
Value
Relative lightness/darkness of a hue according to white/black added to hue.
Normal value or natural saturation point
amount of naturally occuring white/black value in a pure hue.
Chroma or intensity
Relative brightness/intensity of a particular hue/color. Low-dull; high-bright.
Wilhelm Oswald theory and his book The Color Primer
Won Nobel Prize for chem and turned his research to color. Made a system for analyzing color based on white/black additions.
Johannes Itten and his books, The Art of Color and The Elements of Color
Colorist who taught at Bauhaus in Germany and Yale.
Josef Albers and his book Interaction of Color
Famous for studies of simultaneous and successive contrast. Experimented with the optics of color.
Color Harmony
Exists wherever colors are combines in a manner pleasing to the eye and senses.
Hue Identity
Colors can be persuaded by other colors.
Undertones
addition of small amount of one hue to another, rendering the latter slighly warm or cool.
Color samples
When using small samples, you won't get the effect you will when you have a whole room that color. A sample might help, though.
Shibusa
A theory of harmonizing color so that combined hues are appealing for a long people of time. Based on ratios and proportions of nature.
Bold or high-contrast colors
Pure, bright, or intense colors of any hue. Often in retail design and fast-food places. Sense of hurrying is seen.
Neturalized colors
Mixed to become less pure or dulled in intensity. 4 categories.
Shades
Achieved by mixing black w/ a hue. Darker.
Tints
Hues made less pure by adding white. Pale.
Tones
Neutralized with a copmlement/contrasting color.
Pastels
Lightened tones achieved by adding white. Dull/dirty. Rich and nonassertive.
The Law of Chromatic Distribution
"The more neutralized colors of the scheme are found in the largest areas, and the smaller the area, the brighter or more intense the chroma becomes" Backgrounds should use neutrals.
Neutrals
Families of whites, off whites, grays, blacks, and off blacks.
Whites and off-whites
Give interiors increased visual space. Cleaner looking.
Grays
Created by mixing black and white. Warm grays - welcome, invite. Cool grays - cold, uninviting.
Black and off-blacks
Sharpen and adds richness to other colors places near it. Can produce feelings of depression in some.
Browns
Produced by mixing colors on the color wheel.
Texture and materials
Catch, absorb, and reflect light. Changes colors depending on the light.
Color placement or juxtaposition
Putting colors close together will cause colors to affect each other.
Value distribution
The utilization or placement of value for a desired result.
High values
Light hues or light achromatics. Visually expand spaces.
High-key interiors
Have predominantly high value. Airy, carefree feeling occurs. Can seem romantic and less connected to the earth.
Midtones
Colors at their normal value/natural saturation point. Give a sense of normality and calm. Safe, easy to live with.
Dark or low values
Shades and darker tones that close in space. Give warmth feeling.
Low-key interiors
Focus on dark/low values. Can produce a stable, anchored, ponderous, or historic effect. An intellectual or research/reading mode or even a cavelike coziness or theatrical setting.
High contrast
Light and dark values are used and give a sharp contract. Look professional and no-nonsense.
Value distribution based on nature
Placing of values in the general pattern seen in naturn. Dark colors on bottom, midtones in middle.
Color psychology
Valuable tool for designers to fulfill the needs of the users. Both physiological and cultural.
Common color associations for red, orange, yellow, green, blue and purple or violet
Table 4.2; red: danger, love, wealth; orange: warmth, celebration, fame; yellow: optimism, sunshine, status, wisdom, cleanliness; green: nature, calmness, solidity, youthfulness; blue: loyalty, honesty, compassion, tentativeness; purple: imagination, royalty, depth, freshness, flowers, kindness
Color mood groups: light value, bright; light and dull; dark and dull; dark and bright
light/bright: spontaneity, happiness, spring; light/dull: calm, relaxation, summer; dark/dull: serious, profound, fall; dark/bright: jewel tones, richness, strength, winter
Afterimage or simultaneous contrast
Most evident in pairs of intense, high-chroma complementary colors of equal value placed in juxtaposition. Can cause headaches.
The color trend market
Color forecasts, fast paced society changes color preferences, technology,
Color organizations, Color Marketing Group
Choose colors and present it in the fall.
Color in residential interiors
Color is a good way to change the look without spending a lot of money. Can be made to fit individual needs.
Contract considerations
Complex. Differences between specialized needs of the users.
Medical facilities colors
Neutral and soft colors promote healing.
Hospitality facilities colors
Dictated by culture/climate. Different between lobbies and rooms. In warm climates, cool colors are used.
Office interior colors
Sophisticated in terms of equipment and furniture. Neutralized hues and complex neutrals are considered most professional.
Retail business interior colors
Objective is to entice customers to buy things.
Production plants
Light pastel reflect light that is more pleasing than stark whites. Safety is enhanced by using bold colors on dangerous parts.