Search results
Results from the WOW.Com Content Network
There are three properties of color: hue, brightness or chroma, and value. Hue is the name of a color (red, yellow, and blue, etc.). Brightness and chroma refer to the intensity and strength of the color. A high chroma color is more pure and less greyed than a low chroma color. The lightness or darkness to a color is the value.
Elements of art are stylistic features that are included within an art piece to help the artist communicate. [1] The seven most common elements include line, shape, texture, form, space, color and value, with the additions of mark making, and materiality.
Colors in the axis passing through black, grey, and white are in the achromatic axiz (i.e. they have no chroma). Maximum chroma colors of different hues are called nuances. Colors of the same hue and saturation as a maximum chroma color, but of different lightness, are called tints and shades.
Color theory, or more specifically traditional color theory, is a historical body of knowledge describing the behavior of colors, namely in color mixing, color contrast effects, color harmony, color schemes and color symbolism. [1] Modern color theory is generally referred to as color science.
Light spectrum, from Theory of Colours – Goethe observed that colour arises at the edges, and the spectrum occurs where these coloured edges overlap.. Theory of Colours (German: Zur Farbenlehre) is a book by Johann Wolfgang von Goethe about the poet's views on the nature of colours and how they are perceived by humans.
In the visual arts, shape is a flat, enclosed area of an artwork created through lines, textures, or colours, or an area enclosed by other shapes, such as triangles, circles, and squares. [1] Likewise, a form can refer to a three-dimensional composition or object within a three-dimensional composition.
Main page; Contents; Current events; Random article; About Wikipedia; Contact us
As a result of these experiments, colored notation does seem to help early music students to learn notation and rhythms more than students with uncolored notation. In Rogers' 1991 study of color-coded notation, it is clear that students relied more heavily on the colors that were assigned to the notation, rather than on learning the notation.