Principals of Pigments Flashcards Preview

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Flashcards in Principals of Pigments Deck (70):
1

A coloring matter which can be applied to an object.

Pigment

2

Used to duplicate the colors of the spectrum.

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

Pigments

3

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

Imperfections of Pigments

4

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

Range

5

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

Change

6

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.

Impurities

7

Colors may vary from purchase to purchase.

  • Examples: paint, wallpaper, tile

Unstable

8

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

Absorption of Light-Rays Through Admixture

9

  • Hue
  • Value
  • Intensity

Measurements (Dimensions) of Color

10

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

Hue

11

The lightness or darkness of the color

Value

12

The pureness or dullness (grayness) of a color.

Intensity

13

  • Primary
  • Secondary
  • Standard
  • Intermediate
  • Tertiary
  • Neutral

Class of Hues

14

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

 

Primary

15

  • Red
  • Yellow
  • Blue

Primary Hues

16

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

Triangle

17

An equal mixture of two primary hues.

Secondary

18

  • Orange
  • Green 
  • Purple

Secondary Hues

19

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

Inverted Triangle

20

It is the primary and secondary hues.

  • "Standard color wheel"
  • Red, yellow, blue, orange, green, purple.

Standard Pigmentary Hues

21

Mixture of a primary and adjacent secondary hue.

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

Intermediate

22

Illustration of intermediate mixtures on the color wheel:

Use the Primary Color First in Identifying

23

An unequal mixture of opposite (complimentary) hues.

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

Tertiary

24

Grayed hues

Tones

25

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

Neutral (Achromatic)

26

The amount of hues on the color wheel.

12

27

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

Compliments (Opposites)

28

  • Water- Blue
  • Grass- Green
  • Fire- Orange
  • Sun- Yellow

Association From Nature (Warm and cool hues)

29

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

  • Orange is the most

Names of Warm Hues

30

Have longer wavelengths.

Warm Hues

31

Size and distance illustrations with warm hues.

Make Objects Seem to Advance

32

Active or cheerful.

Psychological Associations of Warm Hues

33

Relfects heat waves.

Heat- Warm Hues

34

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

Names of Cool Hues

35

Have shorter wavelengths.

Cool Hues

36

Make objects seem to recede.

The size and distance illustrations of cool hues

37

Quiet, peaceful, depressing.

Psychological Associations- Cool Hues

38

Absorbs heat.

Heat- Cool Hues

39

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

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

40

Afford the greatest visual contrast.

Comparison of Opposites - Warm and Cool 

41

Lightness or darkness of the hue.

Value

42

  • Process
  • Tint
  • Shade
  • Value Cones

Changing the Value of any Hue

43

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

The Gray Scale

44

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

Reflectance Characteristics (Gray Scale)

45

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

Process

46

Hue mixed with progressive quantities of white.

Tint

47

Weakens the brillance but raises the value.

Effect of Tint on the Hue

48

Hue mixed with progressive quantities of black.

Shade

49

Weakens the brillance but lowers the value.

Effect of Shade on the Hue

50

  • 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

Illustration of Tint

51

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

Illustration of Shade

52

  • Tint cone
  • Shade cone
  • Axis of the adjoined cones

Value Cones

53

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

Tint Cone

54

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

Shade Cone

55

This is the gray scale.

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

Axis of the Adjoined Cones

56

Pureness or dullness (grayness) of hue.

Intensity

57

Grayed hue including brown.

Description of Tone

58

Becomes pleasant with subdued brillance.

Effect of Reduced Purity (Tone)

59

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

Methods of Reducing Purity (Intensity)

60

Mixture of two hues which make gray.

Complements

61

Opposites on the color wheel.

Location of Complements

62

Symbol used to signify complementary colors

63

Admixing complements in equal amounts makes:

Gray

64

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

Brown

65

Admixture of complements with an excess of the cool hue:

Slate

66

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

Juxtaposition

67

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

Dull

68

If complements are juxtaposed, they appear more ____.

Vivid

69

Intensify the brilliance of each other.

Effect of Pure (Complementary) Hues on Each Other

70

Reduce the brilliance of each other.

Effect of Grayed (complementary) Hues on Each Other