Term
| The 4 Determinants of Texture |
|
Definition
Fiber Content (natural, synthetic, manufactured, etc.)
Finishes (chemical or mechanical processes)
Yarn Structure (ply, cord, etc.)
Fabric Structure (woven, knit, etc.) |
|
|
Term
|
Definition
| Describes the uniformity or variation of the surface of an object, a description of the actual or implied characteristics of a surface. |
|
|
Term
|
Definition
|
|
Term
| Senses Associated with Texture |
|
Definition
|
|
Term
| Textures React 3 Different Ways (Visual reactions to light) |
|
Definition
Transparent
Translucent
Opaque |
|
|
Term
|
Definition
| admit light, details can be seen (clear like a window) |
|
|
Term
|
Definition
admits light to see silhouettes but NOT details
(etched glass shower) |
|
|
Term
|
Definition
| Reflects or absorbs light |
|
|
Term
|
Definition
| An underlying structure that organizes surfaces or structures in a consistent, regular manner |
|
|
Term
|
Definition
Sources
Interpretation
Arrangement |
|
|
Term
|
Definition
| Sources found in nature with interesting proportions and color (example image--> people outside) |
|
|
Term
|
Definition
Evoke specific memories
(example --> swastika evokes feelings and memories) |
|
|
Term
|
Definition
Lines and shapes that aren't representative of actual objects
(example --> cartoon) |
|
|
Term
|
Definition
Represents something other than an object (an idea, organization, logos, letters, flags, etc.)
(example --> american flag) |
|
|
Term
|
Definition
Realistic
Stylized
Abstract
Geometric |
|
|
Term
|
Definition
Objects appear as they are
(example --> image of flowers that looks like real flowers) |
|
|
Term
|
Definition
Natural & manmade objects that appear distorted in some way
(examples --> cartoon man, flowers that look unusual) |
|
|
Term
|
Definition
Nonrepresentational, source is imaginary
(example --> random, curvy lines overlapping straight lines) |
|
|
Term
|
Definition
Stems from the imagination and portrays NO objects
(example --> straight lines going in different directions) |
|
|
Term
| Arrangement (5 different arrangements) |
|
Definition
The distribution of the motif
All Over
4-way
2-way
1-way
Border |
|
|
Term
|
Definition
Image/object looks the same from any angle
(example --> weird knot thing, anything that looks the same from EVERY angle) |
|
|
Term
|
Definition
Object looks the same from all 90 degree angles
(example --> a solid color square) |
|
|
Term
|
Definition
Object looks the same ONLY when turned 180 degrees
(example --> stripes) |
|
|
Term
|
Definition
Object can only be viewed normally in one direction
(example --> license plate is obviously upside down) |
|
|
Term
|
Definition
| Motif on the edge looks the same from all angles because it is the same from all angles |
|
|
Term
|
Definition
| Unit of design/part of a pattern (have similar size & spacing) |
|
|
Term
|
Definition
1. Interpretations have comparable levels of detail
- If one is flat & simple, one is detailed & dimensional
2. Patterns have at least 1 color in common or the same pattern in different color schemes
3. Color is compatible in all patterns with similar degrees of values & intensity contrasts |
|
|
Term
|
Definition
| Self-contained compositions |
|
|
Term
|
Definition
| The name of any color as found in its pure state in the spectrum or rainbow; the quality that separates one color from another |
|
|
Term
|
Definition
Also known as: tone
The degree of lightness or darkness of a color
- Primary yellow: light
- Primary blue: dark |
|
|
Term
|
Definition
Also known as: Chroma
The degree of departure of a color from the neutral color of the same value
- More vivid color = increased intensity) |
|
|
Term
|
Definition
| Made by adding black to a color -- darker than pure hue |
|
|
Term
|
Definition
| Made by adding white to a color -- lighter than the pure hue |
|
|
Term
|
Definition
| Joint effect of 2 or more colors (a pleasing combination) |
|
|
Term
|
Definition
Colors opposite each other on the color wheel
(example --> green is the complement to red) |
|
|
Term
|
Definition
Colors right next to each other on the color wheel and (possibly) have a color in common; invokes a harmonious feeling
(example --> red, red-purple, purple) |
|
|
Term
| Primary Colors of PIGMENT |
|
Definition
|
|
Term
|
Definition
|
|
Term
|
Definition
|
|
Term
| How do you achieve primary colors? |
|
Definition
Red and blue can be made my mixing true primaries
magenta + yellow = red
yellow + cyan = green |
|
|
Term
| How do you achieve secondary colors? |
|
Definition
| Orange, purple, and green are made by mixing 2 primary colors from either side of the color wheel |
|
|
Term
| How do you achieve tertiary colors? |
|
Definition
By mixing a primary and a secondary color
(example --> blue violet, yellow green, blue green) |
|
|
Term
|
Definition
| The same color in a variety of values |
|
|
Term
|
Definition
|
|
Term
|
Definition
|
|
Term
| True or false: Value is the lightness or darkness of a color |
|
Definition
|
|
Term
| True or false: A complement harmony would utilize side by side colors on a color wheel |
|
Definition
False; an ANALOGOUS harmony would utilize side by side colors on a color wheel
(A COMPLIMENT harmony would utilize colors opposite each other on the color wheel) |
|
|
Term
| True or false: The hue of a color is made by adding grey |
|
Definition
|
|
Term
| What are the physical effects of color? |
|
Definition
| Simultaneous contrast effects on hue, value, and intensity |
|
|
Term
| True or false: An example of simultaneous contrast is when the actual difference in touching colors seems exaggerated. |
|
Definition
|
|
Term
| True or false: Inserting a missing color to emphasize similarities is an example of adaptation. |
|
Definition
|
|
Term
| True or false: Monochromatic backgrounds make it more difficult to pick out colors. |
|
Definition
| False; Monochromatic backgrounds make it EASIER to pick out colors |
|
|
Term
| True or false: The opposite of color harmony is referred to as color discord. |
|
Definition
|
|
Term
|
Definition
Some hues are capable of having higher chromas (intensities) than others, so the complete Munsell model is a sphere
(uses math) |
|
|
Term
| Ostwald's Psychological Theory |
|
Definition
Ostwald based his theory on black, white, and 4 psychologically distinct major hues: red, green, yellow, and blue
24 hues in total
Each hue had its own triangular "page" with white at the upper point and black at the lower point
- The pure hue was at the outer point |
|
|
Term
| The points of Ostwald's Theory (upper, lower, outer) |
|
Definition
Upper: white
Lower: black
Outer: pure hue |
|
|
Term
|
Definition
Tried to combine light and pigment on a rhombohedrom model
A "geometric illustration of the law of vision"
- Half sphere w/ steps |
|
|
Term
|
Definition
| Used by Kuppers to combine light and pigment |
|
|
Term
| What kind of color does the additive theory apply to? |
|
Definition
|
|
Term
| What does the additive theory say? |
|
Definition
That adding more hues in the light spectrum lightens values and resulting colors
- Adding all light primaries "adds up to" white
- Remember: Triangle with white in the middle |
|
|
Term
| What type of color does the subtractive theory apply to? |
|
Definition
|
|
Term
| What does the subtractive theory say? |
|
Definition
| Mixing more hues together absorbs or "subtracts" more light waves so fewer waves are reflected and the color appears darker |
|
|
Term
| In terms of pigment, what is white? |
|
Definition
| The absence of all colors |
|
|
Term
| In terms of light, what is white? |
|
Definition
| The presence of all colors |
|
|
Term
| What is the opposite of color harmony? |
|
Definition
|
|
Term
| What is a property of light? |
|
Definition
|
|
Term
|
Definition
| A chemical or mechanical treatment on a fabric |
|
|
Term
|
Definition
|
|
Term
| What is the SOURCE of a pattern? |
|
Definition
Where the inspiration for an image comes from
Can be:
Natural
Manmade
Imagination
Symbolism |
|
|
Term
| What is the INTERPRETATION of a pattern? |
|
Definition
How an image appears and is interpreted by the viewer
Can be:
Realistic
Stylized
Abstract
Geometric |
|
|
Term
| What is the ARRANGEMENT of a pattern? |
|
Definition
How a pattern looks from different perspectives.
Can be:
All over
4-way
2-way
1-way
Border
Spaced |
|
|
Term
| You can combine a pattern if... |
|
Definition
1. Motifs are compatible in subject
2. Motifs have similar size and spacing
3. Interpretations have comparable levels of detail
4. Patterns have at least 1 color in common (or the same pattern in different color schemes)
5. Color is compatible in all patterns with similar degrees of value and intensity contrasts |
|
|
Term
|
Definition
The electromagnetic energy making things visible
The radian energy from vibrating electrons |
|
|
Term
|
Definition
| Illumination and color; it defines line and space, visually revealing the world |
|
|
Term
| Without light there is no _________. |
|
Definition
|
|
Term
| How can we manipulate light? |
|
Definition
| Indirectly -- by controlling the surface on which it falls |
|
|
Term
|
Definition
| The distance between 2 peaks of a light wave |
|
|
Term
|
Definition
| The number of wavelengths that pass a point per second |
|
|
Term
| What are the percentages of our perception of light? |
|
Definition
5% direct (visible light rays)
95% indirect (reflected off of objects) |
|
|
Term
|
Definition
| The level of illumination (or brightness) depends on the amount of energy radiated (more energy = brighter light) |
|
|
Term
| What do visual effects of light rays depend on? |
|
Definition
| Wavelength, frequency, and level of illumination |
|
|
Term
| What are the psychological effects of lightness? |
|
Definition
|
|
Term
| What are the psychological effects of darkness? |
|
Definition
| the absence of light, "dark ages" (depressing) |
|
|
Term
| What message does light communicate? |
|
Definition
Where we should turn our attention, where we should go.
Light can stimulate the consumption of products and the aesthetic satisfaction of a product or environment |
|
|
Term
| What do surfaces do with light? (3 things) |
|
Definition
Reflect (Mirror)
Absorb (Opaque --> black shirt)
Admit (Transparent --> window) |
|
|
Term
| What type of surfaces reflect light? |
|
Definition
|
|
Term
| What kind of surfaces absorb light rays? |
|
Definition
|
|
Term
| What happens to absorbed light rays? |
|
Definition
| They are transformed into heat |
|
|
Term
| Psychological color feelings: reds and oranges |
|
Definition
| Feel warm (like the sun or the desert) |
|
|
Term
| Psychological effects of color: blues and greens |
|
Definition
| Feel cooler, go well with water and ice (relaxing) |
|
|
Term
| What are the 5 types of light? |
|
Definition
1. Balanced
2. Unbalanced
3. Fluorescent
4. "Cool light"
5. Candlelight |
|
|
Term
|
Definition
| Light containing equal amounts of all visible wavelengths |
|
|
Term
| What is unbalanced white light? |
|
Definition
| Light containing all wavelengths in unequal amounts |
|
|
Term
| What is fluorescent light? |
|
Definition
| An unbalanced white light containing more green and blue than balanced white light |
|
|
Term
|
Definition
"Warm light" containing more red, orange, and yellow
Candlelight makes these colors brighter and blues and green duller |
|
|
Term
| What is selective absorption? |
|
Definition
| When surface pigments absorb all the color wavelengths except the one that is reflected to the eye. The color that is reflected is the color we see. (We only see the color that is NOT absorbed) |
|
|
Term
|
Definition
Lighting that calls attention to specific, small areas or objects. It adds visual impact by highlighting key displays
(example --> a light could focus on a piece of art or a group of plants, making it the focal point) |
|
|
Term
| What is ambient (general) lighting? |
|
Definition
| Lighting that serves the practical need for light -- to perform activities. General lighting allows for a clear evaluation of merchandise. |
|
|
Term
| What is perimeter lighting? |
|
Definition
| Lighting that creates boundaries of space (like yard lights or wall displays), perimeter lighting adds visual excitement to wall displays and helps establish ambience and define a total space. |
|
|
Term
| True or false: In terms of light, white is the absence of all color. |
|
Definition
False; in terms of light, white is the presence of all color
In terms of PIGMENT, white is the absence of all color |
|
|
Term
| True or false: In terms of pigment, white is the absence of all color. |
|
Definition
|
|
Term
| True or false: A balanced white light contains equal amounts of all visible wavelengths. |
|
Definition
|
|
Term
| Which color theory should a painter be concerned with? |
|
Definition
| The SUBTRACTIVE color theory, because it deals with pigments |
|
|
Term
| Which color theory should a photographer be concerned with? |
|
Definition
| The ADDITIVE color theory, because it deals with light |
|
|
Term
| What is made when red, blue, and green light are combined? |
|
Definition
|
|
Term
| True or false: "hue" and "color" can be used interchangeably. |
|
Definition
True; a "hue" refers to the name of the color
(example --> pink, rose, maroon, and crimson are all colors, but their hue is red) |
|
|
Term
| How many basic hues are on the color wheel? |
|
Definition
|
|
Term
| How are the 12 basic hues of the color wheel made? |
|
Definition
| By mixing the primary colors (red, blue, and yellow) together |
|
|
Term
| What are the secondary colors? |
|
Definition
Orange (red + yellow)
Green (yellow + blue)
Violet (Blue + red) |
|
|
Term
|
Definition
| This SECONDARY color is made by mixing 2 PRIMARY colors together (Red + Yellow) |
|
|
Term
|
Definition
| This SECONDARY color is made my mixing 2 PRIMARY colors (yellow + blue) |
|
|
Term
|
Definition
| This SECONDARY color is made by mixing 2 PRIMARY colors (red + blue) together. |
|
|
Term
| What are tertiary colors? |
|
Definition
Colors made by mixing a primary hue with a secondary hue
(example --> blue-green, red-violet, etc.) |
|
|
Term
| When does an after image occur? |
|
Definition
| When you stare at an object of intense color for a while then glance away at something white (a sheet of paper, a wall). You will see the same shape you were looking at, but in a complimentary color (the opposite of what you were first looking at) |
|
|
Term
| When does hue contrast occur? |
|
Definition
| When different hues push each other apart on the color wheel towards the compliment of the dominating hue |
|
|
Term
| When do contrasting hues occur? |
|
Definition
| When the background pushes the color center towards its complement making them appear alike when they are really different |
|
|
Term
| When does visual acuity occur? |
|
Definition
When the colors allow you to view an image sharper
It's easier to see black on a red background than orange.
It's easier to see orange on a brown background than black. |
|
|
Term
| Monochromatic Color Scheme |
|
Definition
| Uses only 1 color that can vary in value (when pure black or white is added, but NOT a different color) |
|
|
Term
|
Definition
| Combines several hues that sit right next to each other on the color wheel (red, red-purple, purple) |
|
|
Term
| Complementary Color Scheme |
|
Definition
| Uses colors opposite each other on the color wheel |
|
|
Term
|
Definition
| The dominance of a single color or the visual importance of a hue that seems to pervade the whole structure despite the presence of other colors |
|
|
Term
| If a balanced white light falls on a red object, what color do we see? |
|
Definition
| We see red because it is the only wavelength NOT absorbed; it is reflected |
|
|
Term
| What surfaces are illuminated in restaurants? |
|
Definition
|
|
Term
| What does the effect of light rays depend on? |
|
Definition
The surface
- Specular Reflection (stronger light)
- Diffuse Reflection (weaker light) |
|
|
Term
| What causes actual (tactile) texture? |
|
Definition
| The variation (or lack of variation) on a surface that can be felt by the skin |
|
|
Term
| What is implied (visual) texture? |
|
Definition
| Texture we can see due to various visual techniques but CANT be physically felt |
|
|
Term
| What does fiber content determine? |
|
Definition
| The performance and feel of a fabric |
|
|
Term
| What are some types of chemical finishes? |
|
Definition
| sizing, water repellant treatments, teflon |
|
|
Term
| What are some mechanical finishes? |
|
Definition
| heat, pressure, curling, napping |
|
|
Term
| How can a product be further manipulated (beyond fiber content, yarn & fabric structure, and finishes)? |
|
Definition
Structural design -- the product can be further manipulated through construction
The choice of structural design will effect texture |
|
|
Term
| What is a determinate surface? |
|
Definition
| A surface with an apparent thickness or visual clarity. Sharp, definite, and clear. |
|
|
Term
| What is an indeterminate surface? |
|
Definition
| A surface lacking clarity and an apparent visual thickness. They invite the viewer to touch them & confirm or disprove the visual perfection of the surface. |
|
|
Term
| What can increase or decrease the perfection of texture? |
|
Definition
| Variation in the amount of light cast on or reflected by a surface |
|
|
Term
| What are the 3 reactions to light? |
|
Definition
| Reflect, absorb, transmit |
|
|
Term
|
Definition
| The weight per unit volume (based on the measurement of thickness and fabric weight) |
|
|
Term
|
Definition
| Make the eyes sensitive to color. |
|
|
Term
| How many types of cones are there on the retina? |
|
Definition
|
|
Term
| What are the 3 types of cones on the retina? How many of each are there? |
|
Definition
Red Cones -- 64%
Green Cones -- 32%
Blue Cones -- 2% |
|
|
Term
|
Definition
| Rods see better in shades than in hues. They are very light sensitive (more so than cones) |
|
|
Term
| What are the rods not good at? |
|
Definition
|
|
Term
| What do rods see orange-red as? |
|
Definition
|
|
Term
| With a red wall and a white light, the wall will appear to be ______ |
|
Definition
|
|
Term
| With a red wall and a red light the wall will appear ___________. |
|
Definition
|
|
Term
| With a red wall and a magenta light, the wall will appear _________. |
|
Definition
| Slightly less vibrant, but still red |
|
|
Term
| With a red wall and a blue light, the wall will appear __________ |
|
Definition
|
|
Term
| How many cones are on the retina? |
|
Definition
|
|
Term
| How many rods are on the retina? |
|
Definition
|
|
Term
| What are the 10 major hue names of Munsell notation? |
|
Definition
| Red (5R), Yellow-Red (5YR), Yellow (5Y), Green-Yellow (5GY), Green (5G), Blue-Green (5BG), Blue (5B), Purple-Blue (5PB), Purple (5P), & Red-Purple (5RP) |
|
|
Term
| What did Munsell want to do with his pigment theory |
|
Definition
| To measure & label each dimension with a formula to standardize the language of color |
|
|
Term
| What is wrong with Prang theory? |
|
Definition
| It does not analyze all 3 color dimensions in one model |
|
|
Term
| Why are reds, orange, & yellow critical to Prang's pigment theory? |
|
Definition
| Because all human skin & hair coloration is derived from them |
|
|
Term
| How many value steps are on the color wheel (to show tints and shades of each hue)? |
|
Definition
|
|
Term
| True or false: Secondary pigments can combine to make primaries |
|
Definition
| False; NO other pigments can combine to make primary colors |
|
|
Term
| How many different values are there for each hue in Munsell notation? |
|
Definition
|
|
Term
| What does "0" stand for in Munsell notation? |
|
Definition
|
|
Term
| What does "10" stand for in Mundell notation? |
|
Definition
|
|
Term
| What chroma designation is neutral color given? |
|
Definition
|
|
Term
| What chroma designation is given to most fully saturated colors in Munsell notation? |
|
Definition
|
|
Term
|
Definition
| This color has a hue of 5R, so it is red. It has a value of 6, which means that it has more black in it than white. It also has a high chroma (intensity) of 8 out of 10. So this is a vivid red color. |
|
|
Term
| Why is the complete Munsell model not a sphere? |
|
Definition
| Because some hues can have higher intensities than others |
|
|
Term
| What was Ostwald's phychological theory based on? |
|
Definition
| Black, white, & 4 psychologically distinct hues: red, green, yellow, & blue. |
|
|
Term
| What was Ostwald's model for his psychological theory? |
|
Definition
| Every hue had a triangular "page" with white at the upper most point, black at the lower point, and the pure hue at the outer point. |
|
|
Term
| What was Kuppers' theory? |
|
Definition
| He thought he could combine pigment and light on a rhombohedron model, the "geometric illustration of the law of vision." |
|
|
Term
| What must be true about a pattern's motifs for it to be combined? |
|
Definition
1. Motifs must have compatible subjects that mix well together
2. Motifs must have similar size & spacing
3. Interpretations should have similar levels of detail
4. Patterns must have at least one color in common, or the same pattern in different color schemes
5. Color should be compatible in all patterns with similar degrees of value and intensity contrasts |
|
|
Term
| What does a detailed pattern seem like? |
|
Definition
|
|
Term
| What does a less detailed pattern seem like? |
|
Definition
|
|
Term
| What does the effectiveness of a pattern depend on? |
|
Definition
| Individual motifs and their relationship to one another |
|
|
Term
| True of false: The more similar motifs are, the more out of place they seem to the whole. |
|
Definition
| False; the more similar motifs are, the more they seem to belong together as part of the whole |
|
|
Term
| What distinction must be made to produce a good pattern? |
|
Definition
| There must be a size distinction between the foreground and background |
|
|
Term
| In addition to size distinction, what else does a pattern need to have? |
|
Definition
Good composition -- consistent mood among elements
Bright colors compliment sharp lines and shapes
Soft colors compliment wispy curves |
|
|
Term
| What does a motif variety do? |
|
Definition
| Draws the eye across the whole design |
|
|
Term
| What is movement, in reference to design? |
|
Definition
| A sense of direction and rhythm |
|
|
Term
| What helps to determine movement? |
|
Definition
|
|
Term
| What does color need to be compatible in all patterns? |
|
Definition
| Similar degrees of values and intensity contrasts |
|
|
Term
| Organization of motifs should be _________ |
|
Definition
|
|
Term
| Pattern can be described as... |
|
Definition
| A repeating unit of shape or form OR the "skeleton" that organizes the parts of a composition |
|
|
Term
| What psychological feelings are associated with natural sources? |
|
Definition
|
|
