Restorative Art Color and Cosmetics

Chromatic color

A color having hue, a visible color in the spectrum

Complementary colors

A color scheme involves any two opposite hues of the color wheel

Monochromatic colors

A color scheme involving one hue. Tints tones and shades of one hue

Analogous color

A color scheme involving two or more hues which lie adjacent to each other on the color wheel and contain the same hue in each

Double complements

A color scheme of four hues, two adjacent hues on the color wheel and their compliments

Split complimentary

A color scheme of three hues, the two hues on either side of the direct complement

Triad color

A color scheme that involves three hues, as near as possible and should be at least three hues from each other on the color wheel

Saturation

A fully saturated color is one which the hue is pure and vivid and is not changed in its brightness aspect or diluted with its complement

Dome lighting

A large luminous light fixture usually with fluorescent bulbs submerged in the ceiling to provide direct light

Black

A mixture of all pigmentary colors

Additive method

A process of mixing colored lights on a surface on which the wave length of each are combined: adding two or more colored lights together to create another color of light

After image

A visual impression remaining after the stimulus has been removed

Cool hues

Absorb heat rays of sunlight and make them seem cool or chilly

Tertiary colors

All grayed hues( tones) are called

Small room

Appear large when decorated with high value

Small rooms

Appear smaller with lower value hue or cool hues

Adjacent color

Appearance of color may also be affected by the influence of an

North rooms

Are considered shadowed rooms. Therefore warm hues may be used to your advantage. Tints of yellows, orange, red and warm brown will bring more light

Low value (cool) colors

Are good for floors. Floors should be the darkest color of the room

Brown and slate

Are important to restorative art because it is the closes to color of the skin than any other color

Cones

Are responsible for the perception of color

White light

Black objects absorb all colors (absent all spectrum colors) this is only when white light (sunlight) is involved

Dispersion

Breaking up the sunlight into seven different colors know as

Warm hues

Closest to infrared( heat) waves

Achromatic color

Color not found in the visible spectrum, neutral color, white, gray, silver

Wave-length

Color of an object is identified by the _ of light it reflects

Cove lighting

Cove is concave, box light fixture extending around the walls of the room several feet from the ceiling

Low value hues

Decrease the size a room

Tertiary hue

Dulled grayed hues

Unsaturated red

Example pink is called

Fringe

Focus on a hue, steadily around the edge of the hue a fringe will appear of the hues complement

Cool colors

Green, blue, indigo, violet

Semi-indirect

Has a translucent bowl which transmits direct rays as well as I direct. The indirect rays greatly exceed the direct ones

Warm hues

Have the longer wave lengths. They reflect the sunlight and seem to be warm or hot

Cool hues

Have the shortest wave length.

Dull

If not compliment they _ each other

Enrich

If they are complements the _ each other

Sir Isaac Newton

In 1666__ discovered light.

Two hues

In appearance the hue bears the resemblances of each of the

Unsaturated

In color illumination results when there is an excess of one of the complements and very little of the other.

Tone

Is a grayed hue

Trough lighting

Is a long narrow receptacle with a reflecting surface

Alcove lighting

Is a recess in the wall for the casket. Behind the side and top of the wall the lights can be hidden from view

Cool white

Is high in green, blue and lacks red

Incandescent

Is high in yellow and everything is tinged by the yellow and our judgment is affected. Nevertheless it is a favorable color to most cosmetics colors

Black

Is not as dark as the complete absence of light

Hue

It refers to the name of the color whether it is warm or cool

White fliament

Light bulbs that provide less illumination than daylight

Bi-directional rooms

Light enter from two directions with both warm and cool light. The predominating light should influence the selection of the hues.

North room

Light entering a room from the north unchanging cool. No direct sunlight enters the windows and that which does is reflected light

West rooms

Light entering room is mainly warm. Cool light enters for only a short period of the day. Warm exposure is adaptable to cool hues and grays

Eastern rooms

Light entering the room from the east is mainly cool. Warm light enters for only a few hours. Cool illumination tends to give hues a harsh appearance. Cream, buff, ivory, gray-tan

Semi- diffused lighting

Light rays are bounced of an object

Diffused lighting

Light rays are scattered in all directions from the light source. Same as flat lighting or indirect lighting. The face can be equally illuminated with little contrast or shadows

Fluorescent lights

Low temperature lights. More illumination at less cost. Do not have the downward thrust of incandescent lights

Subtractive method

Method of diminishing the wave lengths of light by superimposing two or more color transparencies over the same light source; the light is gradually reduced by absorption of colors in the light

Gray

Mixture of three primary hues reveals__

Rods (Receptors)

Most important part, are the rods which respond to various degrees of light

Point lighting

Movement of light rays in a straight line. Creates shadows

South rooms

Natural light entering a room from the south is warm and bright, and continues for many hours of the day. Hues which neutralize the heat of the sun are an advantage. Blue, gray, green etc

Complimentary hue

Ones that lie opposite each other in the color wheel

Secondary

Orange, green, purple(indigo)

Eye fatigue

Over stimulation by a single hue

5 classes of hue

Primary, secondary, standard, intermediate, tertiary

Absorption

Process of taking in: a color abject absorbs certain rays of light

Intermediate hues

Produced when a primary and its adjourning secondary are mixed equal strengths

Cool hues

Purple, blue, green or the ones they predominate such as intermediate yellow-green, blue-green and blue-purple

Apple

Red rays reflect and all other colors absorbed

Primary

Red, blue, yellow

Warm colors

Red, orange, yellow

Warm hues

Red, orange, yellow or the hues which they predominate such as yellow-orange, red-orange & red-purple

Soft white bulbs

Reduce glare and intensity. Generate high heat levels, get hot

Hue

Refers to the name of the chromatic color brightness depends upon the quality of light passing through a color media

White or high value

Room appears higher when the ceiling is___

Blue

Said to be the coolest hue

Orange

Said to be the warmest hue

Ceiling

Should be of high-value, white provides the most reflection. The ceiling should reflect at least 70% of the illumination

Juxtaposition

Simultaneous contrast. Any two colors seen together modify each other in the direction of their complement

7

Sunlight is made up of _ pure colors and no color predominates

Total indirect

The bowl is opaque all light rays are thrown to the ceiling and reflected downward for complete diffused light

Conversion

The color of an object being converted or completely destroyed when one color of illumination strikes an object of a completely different color

Hue

The difference between two spectral colors is a difference of _

Hue

The first dimension of color

Dull or faded

The object they illuminate may seem _ or _. The contain no blue so they distort blue objects

Standard

The primary and secondary hues are called the six standard hues. Or the standard color wheel.

Absorption

The 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

Reflection

The return of light rays form surface, the bending or folding back a part upon itself

Value

The second dimension of color. The lightness or darkness of a hue

Midway

The secondary hues lies_ between the primary hue

Intensity

The third dimension of color. The degree of purity or dullness( grayness) of chromatic color.

Hue Value Intensity

Three dimensions to color

Pure warm hue

Tire the eyes sooner than cool hues

Interaction of hues

Two non-complimentary hues are juxtaposed/ superimposed and there is enough of the hue being seen, the over stimulation of one raises its compliments and mixes it with background color to form a new hue

Emphasis

Using the same color of light as the color of the object

Perception of color

Very individual with each person. People vary in their ability to perceive color such as past experiences of associations

Incandescent light

White filament light bulbs provide less illumination than daylight

White light

White objects reflect all colors( combination of all spectrum colors)

Brown slate tones

Within this range of tone one finds the --- appear

Intermediate hue

Yellow-orange, Yellow-green, blue-green, blue-purple, red-purple, red-orange

ROY G BIV

red, orange, yellow, green, blue, indigo, violet