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This page is a test to evaluate MS Office Word Add-in to save Word to Wiki. Please disregard the content.

Test

test test - Word saved as Web Page .html Heading 1 test Normal text in a paragraph. • Bulleted list • Bullets • Bullets Normal text in a paragraph. Note: This is a text box.

Heading 2 Normal text 1. Numbered list 2. Numered list 3. Numbered list Heading 3

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Test 2

Trying the MS WordtoWiki extension. Saved as .html then opened in notepad and imported with the HTML included.

Here it is

<head> <meta http-equiv=Content-Type content="text/html; charset=windows-1252"> <meta name=ProgId content=Word.Document> <meta name=Generator content="Microsoft Word 12"> <meta name=Originator content="Microsoft Word 12"> <link rel=File-List href="Test_Word%20to%20Wiki_Test_files/filelist.xml"> <o:SmartTagType namespaceuri="urn:schemas-microsoft-com:office:smarttags"

name="City"/>

<o:SmartTagType namespaceuri="urn:schemas-microsoft-com:office:smarttags"

name="place"/>

<a name="_Toc382400896"></a><a name="_Toc197845918">Objectives</a><o:p></o:p>

When you have finished this unit, you should be able to:<o:p></o:p>

<![if !supportLists]>· <![endif]>Mix mid-values for the six primary and secondary colours.<o:p></o:p>

<![if !supportLists]>· <![endif]>Set up a colour circle with mid-values for the six primary and secondary colours.<o:p></o:p>

<![if !supportLists]>· <![endif]>Explain the importance of the colour circle as a tool for the working artist or designer.<o:p></o:p>

<![if !supportLists]>· <![endif]>Distinguish between the subtractive and additive theories of colour.<o:p></o:p>

<![if !supportLists]>· <![endif]>Recognize and name a basic range of pigments. <o:p></o:p>

<![if !supportLists]>· <![endif]>Define the following terms:<o:p></o:p>

<![if !supportLists]>o <![endif]>Hue* <o:p></o:p>

<![if !supportLists]>o <![endif]>Spectrum* <o:p></o:p>

<![if !supportLists]>o <![endif]>Middle value or mid-value*<o:p></o:p>

* Refer to the Glossary in the Reference Manual for these terms.<o:p></o:p>

<a name="_Toc382400897"></a><a name="_Toc197845919">Overview of Demonstration and Assignments</a><o:p></o:p>

In this unit, our first task is to explore the range of colours we can mix with our pigments. Then we will establish mid-values for the three primaries and three secondaries. With these mid-values, we will make a colour circle. Finally, we will experiment with complementary pairs, preparing a few warm/cool and light/dark variations of each.<o:p></o:p>

Note: Be sure to read the section “Getting Started” in your Course Guide before beginning work on your assignments. You will need to prepare your paper and pigments before you can do any assignments.<o:p></o:p>

<a name="_Toc382400898"></a><a name="_Toc197845920">Video Program Summary</a><o:p></o:p>

<a name="_Toc382400899"></a><a name="_Toc197845921">Why Study </a>Colour?<o:p></o:p>

All visual experience is determined by light, with its components of colour and brightness. As creatures who have evolved in a world of night and day, we are particularly sensitive to brightness, to patterns of light and dark. But we are also capable of perceiving colour—much more so than, for example, nocturnal animals, whose picture of the world is monochromatic like a black-and-white photo. In full sunlight, most people can distinguish hundreds of thousands of different colours. But most of us do not develop our capacity to see colour. We do not live in the chromatic world as fully as we might. The purpose of this course is to help you to see colour more clearly, and thus to use it more effectively in your work.<o:p></o:p>

<a name="_Toc197845922">Colour in the world around us</a><o:p></o:p>

Architecture, interior design, fashion, advertising, photography, packaging, and food presentation all contribute to the chromatic world we experience. In Unit 7, we will look more closely at how designers use colour, analyzing what’s effective and what’s not, and why. Although in this century it is the human uses of colour that dominate our environment, the natural world is also full of colour. In Unit 6, you will apply your knowledge of colour to the task of analyzing and replicating the colour in natural objects.<o:p></o:p>

<a name="_Toc382400900"></a><a name="_Toc197845923"></a>Colour Theory<o:p></o:p>

Artists are traditionally (or, at least, according to a stereotype) not very interested in theory; they are, by temperament, more inclined to experiment, to leap in and do, than to consider the theoretical aspects of a problem. But keep in mind that the great colourists of the nineteenth century—painters like Seurat, Cézanne, van Gogh, and Matisse—were keenly aware of colour theory. They may have painted by instinct, by “feel,” by intuition, but it was an intuition deeply informed by theoretical understanding. This is not a course on physics, chemistry, or physiology, but we have to deal briefly with these things in order to acquire some basic colour theory.<o:p></o:p>

<a name="_Toc197845924">Light and colour</a><o:p></o:p>

Light travels in waves that consist of vibrating electric and magnetic fields. Light waves are part of a whole group of electromagnetic waves that includes X-rays, infrared rays, gamma rays, microwaves, and radio waves. As you can see from Figure 2.5 in Selection 1 of your Selections from Eye and Brain, visible light is only a small part of the electromagnetic spectrum. Each colour we see is produced by waves of a particular frequency and wavelength. (The wavelength is the distance from peak to peak of a wave.) Red light has the longest wavelength; violet has the shortest.<o:p></o:p>

Wave lengths in millimicrons:<o:p></o:p>
Red<o:p></o:p>	800–650<o:p></o:p>
<st1:place w:st="on"><st1:City w:st="on">Orange</st1:City></st1:place><o:p></o:p>	640–590<o:p></o:p>
Yellow<o:p></o:p>	580–550 <o:p></o:p>
Green<o:p></o:p>	530–490 <o:p></o:p>
Blue<o:p></o:p>	480–460 <o:p></o:p>
Indigo<o:p></o:p>	450–440 <o:p></o:p>
Violet<o:p></o:p>	470–390<o:p></o:p>
Frequency in million million cycles per second:<o:p></o:p>
Red<o:p></o:p>	400–470 <o:p></o:p>
<st1:place w:st="on"><st1:City w:st="on">Orange</st1:City></st1:place><o:p></o:p>	470–520<o:p></o:p>
Yellow<o:p></o:p>	520–590 <o:p></o:p>
Green<o:p></o:p>	590–620 <o:p></o:p>
Blue<o:p></o:p>	690–700 <o:p></o:p>
Indigo<o:p></o:p>	700–760 <o:p></o:p>
Violet<o:p></o:p>	760–800<o:p></o:p>

<a name="_Toc197845925">The spectrum of visible light</a><o:p></o:p>

When the white light of the sun passes through a prism, it splits into a band of colours called a spectrum. The colours of the spectrum always appear in the same sequence, a sequence determined by the wavelength of each colour of light:<o:p></o:p>

Red—the longest visible wavelength
Orange
Yellow
Green
Blue
Indigo
Violet—the shortest visible wavelength<o:p></o:p>

This sequence (which you can recall easily if you learn the acronym ROYGBIV) is, of course, the same as the pattern of colours in a rainbow. (Indigo is not always included as a separate colour in the sequence.) A rainbow is produced when drops of moisture in the atmosphere act as prisms, dispersing sunlight into the mixture of colours, or wavelengths, that make up white light.<o:p></o:p>

<a name="_Toc197845926">Why objects appear coloured</a><o:p></o:p>

Objects appear coloured because of the frequency of the light waves they reflect. An object which appears red is absorbing all the light waves except the red, which it is reflecting. An object which appears green is absorbing all the light waves except the green, which it is reflecting. So a rose that is seen in white light (like the white light of the sun) will appear red, because the petals can reflect the red part of the white light; the leaves will appear green, because they can reflect the green part of the white light. Remember that to many organisms (including humans with defective colour vision), the red rose does not look red at all. An object which appears black is absorbing all the light waves, and reflecting none. An object which appears white is reflecting all the light waves. It appears white because all the colours of light mixed together produce white light.<o:p></o:p>

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