-Primaries are intense -Secondaries are intense because of equal mixture of two primaries -Tertiaries are less intense

because one primary dominates the mixture -Change in intensity is produced by mixing colors, not by adding black or white Relationships Analagous harmony: the juxtaposition of hues that contain the same color in differing proportions, such as red-violet, pink, and yellow-orange, all of which contain red. Complementary colors: hues that intensify each other when juxtaposed and dull each other when mixed (as pigment). On a color wheel, complementary hues are situated directly opposite one another. Complementary colors do not share a hue. Complements are pairs consisting of a primary and the secondary made from the other two primaries. Complements enhance color intensity by creating simultaneous contrast. Key individual: Michel de Chevreul Simultaneous contrast: The perceptual phenomenon whereby complementary colors appear most brilliant when set side by side. Spatial effects of color Warm colors: colors ranged along the orange curve of the color wheel, from red though yellow Advancing colors warmer hues (red, yellow, orange), high intensity color, or darker values. Cool colors: colors ranged along the blue curve of the color wheel, from green through violet. Receding color: cooler hues (blue, green), low intensity colors, lighter values. Color mixture Palette: 1. A surface used for mixing paints. 2. The range of colors used by an artist or group of artists, either generally or in a specific work. An open palette is one in which all colors are permitted. A restricted palette is limited to a few colors and their mixtures, tints, and shades. Monochromatic: having only one color. Descriptive of work in which one hue - perhaps with variations of value and intensity - predominates. Direct method: color is mixed on the palette, then carefully brushed into place Optical color mixture: the tendency of the eyes to blend patches of individual colors placed near one another so as to perceive a different, combined color. Also, any art style that exploits this tendency, especially the pointillism of Georges Seurat.

Broken color: 1. A color whose pure hue has been toned down through the addition of a second color, often a complementary. 2. In painting, the practice, popularized by the impressionists, of creating a color area from small strokes of individual colors, often closely related that blend optically when seen at a certain distance. See optical color mixture. Indirect method: color is mixed on the canvas, with strokes of unmixed color visible. Divisionism: divided color. Unmixed color is applied in dots, to be mixed by the eye. Pointillism: a quasi-scientific painting technique of the late 19th century, developed and promulgated by Georges Seurat and his followers, in which pure colors were applied in regular, small touches (points) that blended through optical color mixture when viewed at a certain distance. The drive behind pointillism was a desire to produce more brilliant paintings by avoiding broken colors Color scheme: a color harmony, the selective use of colors in a composition. Local color: how a color truly appears, without any light or shadow Perceptual color: True to the optical colors of the scene before one. Arbitrary color : Not true to either their optical or local colors. Symbolic color: uses conventional meanings associated with color Space Picture plane: the literal surface of a painting imagined as window, so that objects depicted in depth are spoken of as behind or receding from the picture plane, and objects in the extreme foreground are spoken of as up against the picture plane. A favorite trick of trompe-loeil painters is to paint an object that seems to be projecting forward from the picture plane into the viewers space. With painting, drawing, and other two-dimensional art forms, the actual space is the flat surface of the work itself, called the picture plane, in which other quantities and dimensions of space can be implied. Conventions of space Suggest space through convention rather than illusion. We understand what the artist implies, but space does not look like it does in the real world. Isometric perspective uses diagonal lines to convey recession, but parallel lines do not converge, it is principally used in East Asian art, which is not based in a fixed viewpoint. Other conventions Overlap: forms meant to be in front: obscure our view of those behind. We understand that when two forms overlap, the one we perceive as complete is in front of the one we perceive as partial. Placement: forms understood as further away if higher on the picture plane

Size: forms understood as further away if smaller