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Contemporary Color: Theory and Use International Edition [Mīkstie vāki]

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(Coastal Carolina University)
  • Formāts: Paperback / softback, 224 pages, height x width x depth: 255x205x13 mm, weight: 672 g, Illustrations
  • Izdošanas datums: 30-Mar-2011
  • Izdevniecība: Delmar Cengage Learning
  • ISBN-10: 1111538913
  • ISBN-13: 9781111538910
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Contemporary Color: Theory and Use International EditionPalielināt
  • Formāts: Paperback / softback, 224 pages, height x width x depth: 255x205x13 mm, weight: 672 g, Illustrations
  • Izdošanas datums: 30-Mar-2011
  • Izdevniecība: Delmar Cengage Learning
  • ISBN-10: 1111538913
  • ISBN-13: 9781111538910
Citas grāmatas par šo tēmu:
Permanent link: https://www.kriso.lv/db/9781111538910.html
Keywords:
CONTEMPORARY COLOR is back with a beautifully produced and lavishly illustrated second edition! Combining a solid grounding in traditional color theory and a thorough exploration of effective color use in digital applications and 3D design work, this introduction to contemporary color text is a must have for all art students. Written by a leading design educator and artist whose work is widely exhibited, this text features a balanced examination of essential theory and its practical application using today's cutting-edge technology. Contemporary Color, second edition covers a wide range of topics including all the basics on color theory, while also examining the latest on digital color, 3D design, and variations in color across nations and cultures. To complement this inclusive content, the text features thought-provoking discussions of the psychological impact of color, the future of color, creativity, and best practices for students and working artists. A vast collection of vivid images, drawn from both classical and contemporary artists, rounds out the text with powerful examples to illustrate applied color theory in all of its dazzling diversity.

Recenzijas

Introduction. 1. Color Perception. 2. Color Theory - Making Sense of Color. 3. Color Psychology. 4. Color Harmonies. 5. Pigments, Colorants and Paints. 6. Digital Color. 7. Color and 3-D. 8. Color in Fine Art. 9. Color in Design. 10. Global Color. 11. The Future of Color.

Preface viii
Introduction xv
Chapter 1 Color Perception: 1(18)
Do Animals See Color?
3(1)
Color Perception
3(1)
Light and Color
4(1)
Newton's Theory of Color
4(2)
Sources of Light
6(2)
Metamerism
8(1)
The Human Eye
8(1)
Rods and Cones
9(2)
Afterimages
11(1)
Color Perception Deficiencies
12(1)
Synesthesia
13(2)
Color and Health
15(1)
Chromatherapy
15(1)
Luminotherapy
16(2)
Summary
18(1)
Chapter 2 Color Theory—Making Sense of Color: 19(20)
Naming Color
21(1)
The Color Circle
21(1)
Aristotle
22(1)
da Vinci
22(1)
Newton
23(1)
Le Blon and Harris
23(1)
Goethe and Impressionism
24(3)
Chevreul, Rood, and Pointillism
27(1)
Albers, Itten, and the Bauhaus
28(1)
Munsell
29(2)
Commission International D'Eclairage (CIE)
31(1)
International Color Consortium (ICC) and the Inter-Society Color Council (ISCC)
32(1)
Digital Color
32(1)
Nadin
33(1)
Chromophobia
33(1)
Color Forecasting
34(3)
Summary
37(2)
Chapter 3 Color Psychology: 39(20)
Innate Responses
40(1)
Learned Color Responses
40(1)
Color and Psychoanalysis
41(1)
The Luscher Color Test
41(3)
The Brain and Cortex
44(1)
Color Constancy
44(1)
Color Function and Cognition
44(1)
A History of Blue
45(2)
Picasso's Blue Period
47(1)
Psychological Perception
48(1)
Mood and Emotion
48(1)
Color and Appetite
48(2)
Color and Flavor
50(1)
Packaging and Products
51(1)
Apple Changes Everything
52(1)
Socioeconomic Aspects of Color
52(1)
Oppenheim's Blue Shirt
53(1)
Artists' Use of Color
54(1)
Color as a Means of Expression
55(2)
Summary
57(2)
Chapter 4 Color Harmonies: 59(24)
Shades of Gray
61(1)
Tints, Tones, and Shades
62(2)
Hue, Value, and Saturation
64(2)
The Color Wheel
66(1)
Color Temperature
66(2)
More Spatial Effects
68(1)
Transparency and Space
68(1)
Color Harmonies
69(1)
Vanishing Boundaries
70(2)
Complements
72(2)
Neutrals
74(2)
Triads
76(1)
Tetrads
77(1)
The Bezold Effect
77(1)
Simultaneous Contrast
77(2)
Interactions of Black and White
79(1)
Value Contrast
79(1)
Luminosity and Luminescence
79(3)
Summary
82(1)
Chapter 5 Pigments, Colorants, and Paints: 83(20)
A Short History
85(1)
Pigments
85(1)
Vehicles
86(1)
Professional Grade Versus Student Grade
86(1)
Reading a Tube of Paint
87(1)
Brushes
88(1)
More about Paints and Pigments
89(1)
Water-Based Paints
89(2)
Oils
91(1)
Acrylics
92(1)
Encaustics
92(1)
Inks and Printer Inks
93(1)
Colored Pencils and Pastels
94(2)
Crayons
96(1)
Other Media
96(1)
Color Film
97(2)
Tattoos
99(1)
Sand Painting
99(2)
Glazes
101(1)
Summary
102(1)
Chapter 6 Digital Color: 103(24)
Pixels
105(1)
Color and Pixel Depth
105(2)
Raster Versus Vector
107(1)
Additive Color
107(1)
Color Pickers
107(2)
Types of Computer-Imaging Programs
109(1)
Monitors
109(1)
Gamma and the Monitor
109(1)
LCD
109(1)
LED
109(2)
Plasma Displays
111(1)
Describing Color: Gamut
112(1)
Color Management Modules
112(1)
ICC Profiles
112(1)
Color Calibration
113(1)
Input Devices
113(1)
Blu-ray
114(1)
Scanning
114(1)
Megapixels
115(1)
Web Color
116(1)
Online Versus Printing
116(1)
Printing
116(1)
Inkjet, Laser, and Giclee Printers
117(1)
PostScript
118(1)
Raster Image Processor (RIP)
119(1)
Dot Gain
119(1)
Production Printing
119(1)
Four-Color Separations: Plates
120(1)
Video and Video Cameras
120(1)
Animation
121(4)
Safe Color Rendering
125(1)
Summary
126(1)
Chapter 7 Color and 3-D: 127(18)
Value and Light
129(1)
Innate Color
129(1)
Truth in Materials
130(1)
Stains
131(1)
Applied Color
131(1)
To Paint or Not
131(1)
Paints, Colorants, and Patinas
131(3)
Clays and Glazes
134(1)
Color and Dimensionality
134(2)
Glass
136(1)
Interiors
136(2)
Architecture
138(1)
New Issues of Dimensionality
138(2)
Conceptual Art
140(1)
Light Installations
141(1)
Landscape and Environmental Art
142(1)
Performance and Body Art
142(2)
Summary
144(1)
Chapter 8 Color in Fine Art: 145(16)
Impressionism
146(3)
Pointillism
149(2)
Cezanne
151(1)
Fauvism
152(1)
Abstract Expressionism
152(1)
Minimalism
153(1)
Op Art
154(1)
Neo-Expressionism
155(1)
Aboriginal and Outsider Art
156(3)
Exploration of New Media
159(1)
Summary
159(2)
Chapter 9 Color in Design: 161(16)
Design and the Fine Arts
163(1)
Barbara Kruger
164(1)
The Sixties: Psychedelic Color
164(1)
April Greiman
165(1)
Graphics and Brand Identity
166(1)
Package Design
167(1)
A Fragrance is Born
168(1)
Product Design
169(2)
Toy Design
171(2)
Web Sites
173(1)
Color Complexity
174(1)
Animation and Motion Graphics
174(2)
Summary
176(1)
Chapter 10 Global Color 177(18)
Color and Meaning
179(1)
From Red to Green
179(1)
Wedding Color
180(1)
Traditional White
180(2)
Nonwestern Color
182(2)
Australia
184(1)
Global Color: Natural Hues
184(2)
Global Color Chart
186(1)
Religion and Color
186(1)
Christianity
186(2)
Judaism
188(1)
Islam
189(1)
Hinduism
190(1)
Buddhism
191(2)
Global Color Usage
193(1)
Summary
194(1)
Chapter 11 The Future of Color: 195(12)
Environmentally Friendly Paints
197(1)
The Color Green
197(1)
Green Art
197(1)
The Green Museum
198(1)
Corporate Green
198(1)
Mickey D's Goes Green
199(1)
Green Building and Architecture
199(1)
Color Ownership: Color and the Law
200(2)
New Territory
202(1)
Lasers and Holography
202(1)
Web Art
203(1)
Virtual Reality and Interactivity
204(1)
Second Life
204(2)
Summary
206(1)
Glossary 207(6)
Index 213(10)
Illustration List 223
Steven Bleicher is a tenured professor in the Visual Arts Department at Coastal Carolina University. After receiving his B.F.A. and M.F.A. from Pratt Institute, Professor Bleicher worked and taught at the New York Studio School of Drawing, Painting and Sculpture; the State University of New York; Brooklyn College; and Marian College. He also served as a senior faculty member in the Arts and Humanities Program at the Art Institute of Fort Lauderdale and was assistant dean of the School of Art and Design at the Fashion Institute of Technology. In addition to teaching, Professor Bleicher is active as a visiting lecturer and consultant on color psychology for clients including Staples, Inc., and The Savannah College of Art and Design. He is also an accomplished artist whose work is included in many major collections and has been widely exhibited in numerous solo and group exhibitions both nationally and internationally.