monochrome

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monochrome

1. a black-and-white photograph or transparency
2. Photog black and white
3. 
a. a painting, drawing, etc., done in a range of tones of a single colour
b. the technique or art of this
4. executed in or resembling monochrome
Collins Discovery Encyclopedia, 1st edition © HarperCollins Publishers 2005
The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.

Monochrome

 

literally, of a single color. The term is often used in reference to works of art executed in a single color or various tones of that color. An example is a grisaille.

The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.

monochrome

[′män·ə‚krōm]
(optics)
Having only one chromaticity.
McGraw-Hill Dictionary of Scientific & Technical Terms, 6E, Copyright © 2003 by The McGraw-Hill Companies, Inc.

monochrome

(graphics)
Literally "one colour". Usually used for a black and white (or sometimes green or orange) monitor as distinct from a color monitor. Normally, each pixel on the display will correspond to a single bit of display memory and will therefore be one of two intensities. A grey-scale display requires several bits per pixel but might still be called monochrome.

Compare: bitonal.
This article is provided by FOLDOC - Free Online Dictionary of Computing (foldoc.org)

monochrome

Also called "mono." Refers to display screens that use one foreground and one background color; for example, black on white, white on black or green on black. The first terminals connected to mainframes and minicomputers were monochrome, and monochrome screens were widely used on early personal computers.

Monochrome vs. Grayscale
Quite often, a non-color monitor is called monochrome; however, if it displays shades of the single color, then it is a grayscale monitor. See pixel and color depth.


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References in periodicals archive ?
The Jean-Paul Najar Foundation's latest exhibition, The Monochrome Revisited, explores the history and evolution of the monochrome from its origin to its contemporary manifestations.
The high-gloss black of the Hulsta Metis Plus range of bedroom furniture looks great in a monochrome context.
Follow a few simple monochrome rules to guarantee monochrome success, urges Steven Rowe, head of home design at Littlewoods Direct which features a range of designstandard monochrome homeware at budget prices.
If such a work lacks the potency of the black monochromes, it is because negation is surely a more convincing message for a painting to make in the avalanche of mass media images and semantic manipulation.
But the welcome attention afforded to Klein's technique at this juncture has an unforeseen consequence: One began to wonder how a man who once boasted that he made his monochromes with a roller could arrive at the elaborate painterliness of his "Anthropometries." Was it not perhaps the symptom of a terrible anxiety born of the successful spectacularization of their making, his biggest media coup?
My impulse would have been to articulate this set of encounters by way of wall labels referring to the paradigms of avant-garde painting, such as Monochrome, Deductive Structure, Aura, Simulacrum.
This show of ten ultramarine monochromes, virtually identical in size (roughly 30 by 22 inches) and in their lightly textured facture (made with a housepainter's roller), was a sensuous, literal, explicit challenge to the ideology of art informel painting.
Klein's claims to have "invented" monochrome painting, or, for that matter, to have invented "International Klein Blue" - the Symbolist azure, visible in the luminous pastels of Odilon Redon since the 1890s - are cases In point, with strategically placed disinformation appearing as legitimate artistic license.
Slipping back and forth from craft-oriented operations to high-technology displays (his neon installation at the Milan Triennale in 1951, for example), from travestying heroic avant-garde positions in abstraction and monochrome painting to copublishing a manifesto for a new esthetics of TV in 1952, Fontana more than anybody (with the exception of his French disciple Yves Klein) would initiate the artist's rapid and successful transition into a proto-Warholian imago.
The mad exuberance, the chromatic immoderations of some of his abstractions enact this criticism through excess; the monochromes, the glass panels, and especially the poor, blurred, hopeless images of a number of his works taken from photographs function as criticism by default.
MC: Clark's complaint suggests that the pictorial orders described by the terms "monochrome," "grid," "allover," and "mise-en-abime" are ideological no matter how scientifically derived.
The dense networks of quivering, undulating lines that make up most of the drawings join together into a unity that often feels richer and more complex than that of the monochrome paintings, precisely because it feels more hard-won.