COLOR WHEEL WITH WAVELENGTHS - COLOR WHEEL

COLOR WHEEL WITH WAVELENGTHS - FISHER PRICE POWER WHEELS LIGHTNING MCQUEEN

Color Wheel With Wavelengths


color wheel with wavelengths
    color wheel
  • color circle: a chart in which complementary colors (or their names) are arranged on opposite sides of a circle
  • A color wheel or color circle is either: * An abstract illustrative organization of color hues around a circle, that show relationships between primary colors, secondary colors, complementary colors, etc.
  • Colors arranged in a certain order in the shape of a circle.
  • A circle with different colored sectors used to show the relationship between colors
    wavelengths
  • (wavelength) the distance (measured in the direction of propagation) between two points in the same phase in consecutive cycles of a wave
  • The distance between successive crests of a wave, esp. points in a sound wave or electromagnetic wave
  • This distance as a distinctive feature of radio waves from a transmitter
  • A person's ideas and way of thinking, esp. as it affects their ability to communicate with others
  • (wavelength) a shared orientation leading to mutual understanding; "they are on the same wavelength"
  • In physics, the wavelength of a sinusoidal wave is the spatial period of the wave – the distance over which the wave's shape repeats.
color wheel with wavelengths - Wavelength
Wavelength
Wavelength
Wavelength. WaveLength is the hilarious way to do what we all like to do - express our opinions. You and your partner score points by matching answers after you write things like five pizza toppings or five sections of a newspaper. There are no wrong answers, all you have to do is match. For 4 or more players. Ages 13 to adult.

Features include:

•WaveLength is the hilarious way to do what we all like to do - express our opinions
•You and your partner score points by matching answers after you write things like five pizza toppings or five sections of a newspaper
•There are no wrong answers, all you have to do is match
•For 4 or more players
•Ages 13 to adult

77% (7)
´¨*•.¸? Seurat's Splish Splash On MOMA Floor ?¸.•*´¨
´¨*•.¸? Seurat's Splish Splash On MOMA Floor ?¸.•*´¨
This photo of a waterfall at Govinda's Koi Pond is in a pointillist manner a la Seurat... I add: The light collected by our digital camera's lens is filtered into Red, Green, and Blue components. Each component of light is directed to it's own sensor chip. The way these are combined leads to an imitation of the stream of light flowing to our eyes by the objects being viewed. The stream of light is more like a collection of individual particles coming to our eyes. Each particle is called a photon. It has a unique wavelength, that we perceive as a specific color. Pointillism attempts to use the physics of vision in the real world of individual photons. Definition: pointillism |?pwa n te?yiz?m; ?pointl?iz?m| noun a technique of neo-Impressionist painting using tiny dots of various pure colors, which become blended in the viewer's eye. It was developed by Seurat with the aim of producing a greater degree of luminosity and brilliance of color. Georges Seurat Georges-Pierre Seurat Georges Seurat, 1888 Born2 December 1859 Paris, France Died29 March 1891 (aged 31) NationalityFrench Field Painting Movement: Post-Impressionism, Neo-impressionism, modern art Georges-Pierre Seurat (French pronunciation: [???? pj?? so?a]; 2 December 1859 – 29 March 1891) was a French Post-Impressionist painter and draftsman. What led Seurat to using points of clear color? Scientific background and influences During the 19th century, scientist-writers such as Michel Eugene Chevreul, Ogden Rood and David Sutter wrote treatises on color, optical effects and perception. They were able to translate the scientific research of Helmholtz and Newton into a written form that was understandable by non-scientists. Chevreul was perhaps the most important influence on artists at the time; his great contribution was producing a color wheel of primary and intermediary hues. Chevreul was a French chemist who restored old tapestries. During his restorations of tapestries he noticed that the only way to restore a section properly was to take into account the influence of the colors around the missing wool; he could not produce the right hue unless he recognized the surrounding dyes. Chevreul discovered that two colors juxtaposed, slightly overlapping or very close together, would have the effect of another color when seen from a distance. The discovery of this phenomenon became the basis for the Pointillist technique of the Neoimpressionist painters. Chevreul also realized that the 'halo' that one sees after looking at a color is actually the opposing, or complementary, color. For example: After looking at a red object, one may see a cyan echo/halo of the original object. This complementary color (as an example, cyan for red) is due to retinal persistence. Neoimpressionist painters interested in the interplay of colors made extensive use of complementary colors in their paintings. In his works Chevreul advised artists that they should not just paint the color of the object being depicted, but rather they should add colors and make appropriate adjustments to achieve a harmony. It seems that the harmony Chevreul wrote about is what Seurat came to call 'emotion'. According to Professor Anne Beauchemin from McGill University, most Neoimpressionist painters probably did not read Chevreul's books, but instead they read Grammaire des arts du dessin, written in 1867 by Charles Blanc, who cited Chevreul's works. Blanc's book was targeted at artists and art connoisseurs. Color had an emotional significance for him, and he made explicit recommendations to artists which were close to the theories later adopted by the Neoimpressionists. He said that color should not be based on the 'judgment of taste', but rather it should be close to what we experience in reality. Blanc did not want artists to use equal intensities of color, but rather to consciously plan and understand the role of each hue. Another important influence on the Neoimpressionists was Ogden Rood, who also studied color and optical effects. Whereas the theories of Chevreul are based on Newton's thoughts on the mixing of light, Rood's writings are based on the work of Helmholtz, and as such he analyzed the effects of mixing together and juxtaposing material pigments. For Rood, the primary colors were red, green, and blue-violet. Like Chevreul, he stated that if two colors are placed next to each other, from a distance they look like a third distinctive color. Rood also pointed out that the juxtaposition of primary hues next to each other would create a far more intense and pleasing color when perceived by the eye and mind than the corresponding color made by mixing paint. Rood advised that artists be aware of the difference between additive and subtractive qualities of color, since material pigments and optical pigments (light) do not mix together in the same way: Material pigments: Red + Yellow + Blue = Black Optical / Light : Red + Green + Blue = White Other influences on Seurat
~~Seurat's Splish Splash~~
~~Seurat's Splish Splash~~
This photo of a waterfall is in a pointillist manner a la Seurat... Seurat. Seurat's Splish Splash at Govinda's Koi Pond... Definition: pointillism |?pwa n te?yiz?m; ?pointl?iz?m| noun a technique of neo-Impressionist painting using tiny dots of various pure colors, which become blended in the viewer's eye. It was developed by Seurat with the aim of producing a greater degree of luminosity and brilliance of color. I add: The light collected by our digital camera's lens is filtered into Red, Green, and Blue components. Each component of light is directed to it's own sensor chip. The way these are combined leads to an imitation of the stream of light flowing to our eyes by the objects being viewed. The stream of light is more like a collection of individual particles coming to our eyes. Each particle is called a photon. It has a unique wavelength, that we perceive as a specific color. Pointillism attempts to use the physics of vision in the real world of individual photons. Georges Seurat Georges-Pierre Seurat Georges Seurat, 1888 Born2 December 1859 Paris, France Died29 March 1891 (aged 31) NationalityFrench FieldPainting MovementPost-Impressionism, Neo-impressionism, modern art WorksSunday Afternoon on the Island of La Grande Jatte Le Chahut, 1889–1890, Kroller-Muller Museum, Otterlo, Netherlands Georges-Pierre Seurat (French pronunciation: [???? pj?? so?a]; 2 December 1859 – 29 March 1891) was a French Post-Impressionist painter and draftsman. What led Seurat to using points of clear color? Scientific background and influences During the 19th century, scientist-writers such as Michel Eugene Chevreul, Ogden Rood and David Sutter wrote treatises on color, optical effects and perception. They were able to translate the scientific research of Helmholtz and Newton into a written form that was understandable by non-scientists. Chevreul was perhaps the most important influence on artists at the time; his great contribution was producing a color wheel of primary and intermediary hues. Chevreul was a French chemist who restored old tapestries. During his restorations of tapestries he noticed that the only way to restore a section properly was to take into account the influence of the colors around the missing wool; he could not produce the right hue unless he recognized the surrounding dyes. Chevreul discovered that two colors juxtaposed, slightly overlapping or very close together, would have the effect of another color when seen from a distance. The discovery of this phenomenon became the basis for the Pointillist technique of the Neoimpressionist painters. Chevreul also realized that the 'halo' that one sees after looking at a color is actually the opposing, or complementary, color. For example: After looking at a red object, one may see a cyan echo/halo of the original object. This complementary color (as an example, cyan for red) is due to retinal persistence. Neoimpressionist painters interested in the interplay of colors made extensive use of complementary colors in their paintings. In his works Chevreul advised artists that they should not just paint the color of the object being depicted, but rather they should add colors and make appropriate adjustments to achieve a harmony. It seems that the harmony Chevreul wrote about is what Seurat came to call 'emotion'. According to Professor Anne Beauchemin from McGill University, most Neoimpressionist painters probably did not read Chevreul's books, but instead they read Grammaire des arts du dessin, written in 1867 by Charles Blanc, who cited Chevreul's works. Blanc's book was targeted at artists and art connoisseurs. Color had an emotional significance for him, and he made explicit recommendations to artists which were close to the theories later adopted by the Neoimpressionists. He said that color should not be based on the 'judgment of taste', but rather it should be close to what we experience in reality. Blanc did not want artists to use equal intensities of color, but rather to consciously plan and understand the role of each hue. Another important influence on the Neoimpressionists was Ogden Rood, who also studied color and optical effects. Whereas the theories of Chevreul are based on Newton's thoughts on the mixing of light, Rood's writings are based on the work of Helmholtz, and as such he analyzed the effects of mixing together and juxtaposing material pigments. For Rood, the primary colors were red, green, and blue-violet. Like Chevreul, he stated that if two colors are placed next to each other, from a distance they look like a third distinctive color. Rood also pointed out that the juxtaposition of primary hues next to each other would create a far more intense and pleasing color when perceived by the eye and mind than the corresponding color made by mixing paint. Rood advised that artists be aware of the difference between additive and subtractive qualities of color, since material pigments and optical pigments (light) do n

color wheel with wavelengths
color wheel with wavelengths
The Psychotic Wavelength: A Psychoanalytic Perspective for Psychiatry (The New Library of Psychoanalysis)
The Psychotic Wavelength provides a psychoanalytical framework for clinicians to use in everyday general psychiatric practice and discusses how psychoanalytic ideas can be of great value when used in the treatment of seriously disturbed and disturbing psychiatric patients with psychoses, including both schizophrenia and the affective disorders.
In this book Richard Lucas suggests that when clinicians are faced with psychotic patients, the primary concern should be to make sense of what is happening during their breakdown. He refers to this as tuning into the psychotic wavelength, a process that allows clinicians to distinguish between, and appropriately address, the psychotic and non-psychotic parts of the personality. He argues that if clinicians can find and identify the psychotic wavelength, they can more effectively help the patient to come to terms with the realities of living with a psychotic disorder.
Divided into five parts and illustrated throughout with illuminating clinical vignettes, case examples and theoretical and clinical discussions, this book covers:
the case for a psychoanalytical perspective on psychosis
a historical overview of psychoanalytical theories for psychosis
clinical evidence supporting the concept of a psychotic wavelength
the psychotic wavelength in affective disorders
implications for management and education.
The Psychotic Wavelength is an essential resource for anyone working with disturbed psychiatric patients. It will be of particular interest to junior psychiatrists and nursing staff and will be invaluable in helping to maintain treatment aims and staff morale. It will also be useful for more experienced psychiatrists and psychoanalysts.

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