Chapter XI: Appendix: A

DEFINITIONS

ABSOLUTE COLORS: _see_ Local Colors.

ADVANCING COLORS: those of the longer wave lengths; those that seem to
come forward; but each color only advances or recedes according to
its relation to some other color. _See_ Luminosity.

ANALOGOUS HARMONY: _see_ Harmony.

BEAM OF LIGHT: a linear portion[16] of light made of a number of rays.

BRIGHTNESS: _see_ Luminosity.

BROKEN COLOR: a color changed by the addition of black and white or
gray.

COLD COLORS: those of the shorter wave lengths, such as green, blue,
and violet.

COLOR: an internal sensation, produced by various causes, chiefly by
waves of incomplete light acting on the eye; as used by artists,
the rich, harmonious effect, or full appearance produced by
certain combinations of colors.

COLOR CHART: a systematic arrangement of colors in a geometrical
design such that every variation and combination of hue, tint, and
shade is in its proper place and in correct relation to all other
hues, tints, and shades.

_Advancing_ _Colors_, see under Advancing;
_Bright_ „ „ „ Brightness;
_Broken_ „ „ „ Broken;
_Cold_ „ „ „ Cold;
_Complementary_ „ „ „ Complement;
_Complements of_ „ „ „ „
_Constants of_ „ „ „ Constants;
_Contrast of_ „ „ „ Contrast;
_Harmony of_ „ „ „ Harmony;
_Hue of_ „ „ „ Hue;
_Intense_ „ „ „ Saturated;
_Local_ „ „ „ Local;
_Luminosity of_ „ „ „ Brightness;
_Luminous_ „ „ „ Luminous;
_Neutral_ „ „ „ Neutral;
_Normal_ „ „ „ Normal;
_Opaque_ „ „ „ Opaque;
_Pigment_ „ „ „ Pigment;
_Primary_ „ „ „ Primary;
_Prismatic_ „ „ „ Prismatic;
_Pure_ „ „ „ Pure;
_Quality of_ „ „ „ Constants;
_Saturated_ „ „ „ Saturated;
_Secondary_ „ „ „ Secondary;
_Spectral_ „ „ „ Normal;
_Tertiary_ „ „ „ see under Tertiary;
_Transparent_ „ „ „ Transparent;
_Value of_ „ „ „ Values;
_Warm_ „ „ „ Warm.

COMPLEMENTS or

COMPLEMENTARY COLORS: any color and the color of its after-image; any
two colors which when mixed make white.

COMPOUND or MIXED COLOR: a color changed or neutralized by the
addition of another color or colors.

CONSTANTS or QUALITIES OF COLORS: Hue, Purity, and Luminosity.

CONTRAST: _see_ Simultaneous Contrast, page 53.

CONTRASTED HARMONY: _see_ Harmony.

DIFFRACTION GRATING: a polished metal or brass surface ruled with fine
lines and used instead of a prism to divide a ray of light and
produce a spectrum.

DOMINANT HARMONY: _see_ Harmony.

DOMINANT HUE: _see_ Hue.

HARMONY: the pleasing effect due to the action upon each other of
colors improved and made more beautiful by being put together;
such an agreement between the different hues, tints, or shades of
a design as will produce unity of effect.

_Analogous Harmony_: an agreeable combination of colors that are
related to a fundamental color.

_Complex Harmony_: an agreeable combination of three or more
colors, or with the addition of black or white, or gray, or
gold, or silver, or any or all of them.

_Contrasted or Complementary Harmony_: an agreeable combination
of any pair of complementary colors, or of their tints or
shades, or tints and shades.

_Dominant Harmony_: an agreeable combination of colors in which
one color predominates by modifying all the other colors, by
serving as a ground, or by being added in small portions all
over the design.

_One-color Harmony, also called a Harmony of Self-tones_: an
agreeable combination of one color used in tints or shades, or
tints and shades, or hue and tints, or hue and shades, or hue,
tints, and shades.

HUE: color, by wave length, much the same as color; the chief
quality by which one color differs from another color, as red
differs from blue or green.

_Dominant Hue_: the hue which predominates through the larger
part of a design or composition.

INTENSE: _see_ Saturated.

LIGHT: the chief agent that produces vision.

LOCAL COLOR: the actual color of an object unaffected by shadows
or reflected lights.

LUMINOSITY: the strength of the light sent to the eye by any
color; a luminous color sends more than a non-luminous one.

LUMINOUS COLORS: those which reflect light in large quantities;
the colors of the long wave lengths are more luminous than those
of the short ones.

NEUTRAL COLORS: a term often incorrectly applied to black, white,
gray, gold, and silver.

NORMAL, SPECTRAL, PRIMITIVE, or PRISMATIC COLORS: those seen in
the rainbow and the solar spectrum are generally accepted as such
and are used as the standard for the study of colors. Pigment
colors can only imitate these colors imperfectly.

OIL COLORS: pigments ground in oil.

OPAQUE COLORS: pigment colors which are so thick that paper or
canvas cannot be seen through them.

PIGMENTS: materials from which paints, inks, dyes, and stains are
made.

PIGMENT COLORS: paints, inks, dyes, and stains used in the fine
and industrial arts.

PRIMARY COLORS: red, blue, and yellow; so called because it was
supposed that all other colors could be made from them.

PRIMITIVE COLORS: _see_ Normal Colors.

PRISM: a triangular or three-sided bar of clear glass.

PRISMATIC COLORS: those that appear when a ray of white light
shines through a prism. _See_ Normal Colors.

PURE COLORS: those unmixed with white light or any other color;
those of the spectrum.

PURITY OF COLORS: the absence of an admixture of any other color
or colors, or white or black.

QUALITIES OF COLORS: _see_ Constants of Colors.

RAY OF LIGHT: a small linear portion or streak of light which may
be white or any color.

RECEDING COLORS: those which seem to retire or recede from the
eye; those of the short wave lengths.

RETINA: a thin inner lining of the eye. _See_ page 20.

SATURATED or INTENSE COLORS: colors that are pure and luminous to
their greatest extent; without any mixture of white light.

SECONDARY COLORS: orange, green, and violet; so called because it
has been thought they were made from combinations of the primary
colors.

SELF-TONES: _see_ Tone.

SHADE: a tone of a color darkened by the addition of black
pigments to paints, inks, dyes, and stains, or by the action of
diminished light on immaterial colors.

SHADOW: about the same as _shade_, as generally used, but for the
sake of clearness it is best to designate by _shadow_ those parts
of an object which do not receive any direct rays of light, while
those surfaces which receive but little direct light, and are thus
intermediate in value between the light and the shadow, are called
_shade surfaces._ Then the term _cast-shadow_ denotes the shadow
projected by one body on another body or surface.

SOLAR SPECTRUM: _see_ Spectrum.

SPECTRAL COLORS: _see_ Normal Colors.

SPECTRUM: the result of the decomposition of a ray of sunlight
into all the colors which form it; the streak of colors formed by
a ray of light that has passed through a prism or over a
Diffraction Grating.

STANDARD COLORS: those of the spectrum.

TERTIARY COLORS: citrine, olive, and russet, so called because it
has been thought that they were made from combinations of the
secondary colors.

TINT: a tone of a color produced by the addition of white to oil,
water to water, and white light to immaterial colors.

TONE: the given state of a color as it may be pure, luminous,
broken, compound, a tint, or a shade.

_Self-tones_: tones of the same color.

TRANSPARENT COLORS: those in which the color tints the paper or
canvas, which shows through the color, thus helping to produce the
effect.

VALUES: the relative amount of light contained in the different
colors of a picture, design, or composition; the lightest or most
luminous being called the highest in value.

WARM COLORS: those of the longer wave lengths, as yellow, orange,
and red.

WATER COLORS: pigments prepared to be used with water.

WAVE LENGTHS OF COLORS: objects having no color in themselves
possess the power of reflecting waves of light; waves of light of
varying lengths give us the effect of color. Either the amount of
motion of the ether, or _height_ of the wave, produces the
intensity or brightness of the light, and the _length_ of the wave
produces the color; _red_ has a wave length of about
7000/250,000,000 of an inch, _orange_ 5979/250,000,000, _yellow_
5802/250,000,000, _green_ 5272/250,000,000, _blue_
4732/250,000,000, and _violet_ 4059/250,000,000.