Customer Reviews

Color Perception in Art

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A color may be a specific mix of dyes or pigments, but that may not be how it looks when seen or when remembered as afterimages. While in charge of Gobelin's dyestuffs and coloring, color theorist M.E. Chevreul saw that tapestry blacks looking black depended upon contrast with nearby colors. All 19th- and 20th-century artists have been sorting out COLOR PERCEPTION IN ART form, pattern, and design. Joseph Mallory Turner ended up being the greatest influence through it all, because of the spectrum he learned from Claude Lorrain's luminous sunsets and Moses Harris's pioneer printed full hue color circle. Author Faber Birren includes studies on how chromatic illumination, iridescence, luminosity, luster, and transparency affect color hues, tints, and tones. His unique book and William Gaunt's TURNER are learning experiences that make for smooth reading of Jim Ames' COLOR THEORY MADE EASY, Albert Handell's INTUITIVE LIGHT, Johannes Itten's THE ART OF COLOR, Trevor Lamb's COLOUR, Charles LeClair's COLOR IN CONTEMPORARY PAINTING, or Stephen Quiller's COLOR CHOICES.

Read in conjunction with faber's other books, this book once again confirms him as a leader in the field of colour theory for artists. This is a short book that looks at the work of Turner and then explores how to achieve colour effects in painting. It is a great pity that the few colour plates are relegated to the back of the book and that the rest of the illustrations are in black and white.

It explains how to render many colored scenes, tricks to emulate light sensations coming for the image, cheap, clear, good images, I highly recommend it

Ok, call me a Philistine of you wish but I felt ripped off by this book. The topic is terrific and the author treats it in a very authoritative manner, albeit with a somewhat aloof tone. He attempts to make strong and important points but most of his illustrations are in BLACK and WHITE. To be specific, only 12 out of 36 illustrations are in color. If you happen to be already well-versed in art history, maybe that will suffice. The book is of such high quality-paper, finish, etc-that to have so much in black and white is very disappointing and almost comical.

Birren is one of the pillars of color perception. Here he tackles the very complex subject and defines it in understandable terms.