Customer Reviews

Color Theory (Watson-Guptill Artists Library)

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An excellent resource for all wishing a better understanding of the nature of and relationship of colors. Parramon provides basic knowledge of how light breaks down into colors, in layman's terms, and then applies same to pigments. He then expands into contrasts, harmony, use and mis-use of black and white, a comprehensive discussion of artist colors, painting shadows and so on. Each topic is well addressed and supported visually.

Again, an excellent book which I'm delighted to have in my library, albeit covered with pastel and watercolor fingerprints.

I paint landscapes in oil for a hobby. The other day, while cleaning all my paint tubes, and while looking at the names of the colors, I began thinking about them. I then found I had José's wonderful book on my shelf for several years, still unread. I picked it up, and found I literally could not put it down. For an artist, this book reads like a "thriller!"

One of the things I liked best about the book is that it is not necessary to read it in order, from beginning to end. I turned first to the section on shadows, as shadows are an area I am currently having problems with. José explains EVERYTHING SO WELL, and CLEARLY. When he refers to matter already covered in an earlier section of the book, he clearly states the page number, where you can go back and refer to that section. His treatment of shadows is typical of how he addresses each subject in his little book.

José opens the chapter with a brief discussion of what Van Gogh once said about shadows, and discusses how artists currently view shadows as blue; whereas, at one time, they were viewed as similar to Van Dyck brown, or burnt umber. He explains how the post-impressionists discovered that the basic color of shadows is blue, and he devotes an entire lesson to actually showing us how that is so. Next, he devotes a second lesson to understanding the local color in darker tones, which he also points out is somewhat reminiscent of an old master's painting. In the first lesson, he gives us a sample still life painting, all in shades of blue. In the second lesson, we see the same still life painting, where the shadows are not made with blue, but only by using darker tones of the local colors. The third lesson deals with the complementary color of the local color. Here, we are given a third example of the still life, painted this time in complementary colors, which are used as shadows. José also points out that the still life now looks very much like the style of some paintings by Toulouse-Lautrec, Cézanne, and especially Van Gogh, with the contrast originating from the juxtaposition of the most opposed colors, of highest contrast. He is not advising us to paint like this, only to help us understand. The fourth lesson in the chapter deals with the finished painting. We now see the same still life painted correctly, with proper use three types of colors in the shadows: blue, the local color in darker tones, and the complementary of the local color. As José carefullly guides our eye through each step of the process, we now really understand what he wants us to see!

I then read the other chapters, in order from the beginning. One of the best discussions dealt with looking at various landscape scenes (shown in photographs) and how each painter asks himself, "What color is it, actually?" He then takes us through a whole lesson, showing us his own thoughts (and sometimes, confusion) as he paints the landscape, trying to decide what color each thing is. This really helped me see that every painter is going throught the same thought processes, and having the same problems that I am.

I have several unfinished paintings I am still working on, and yet, after several years, was unable to determine, by looking, just what the problem was. After reading two-thirds of this book yesterday, I looked at my paintings this morning, and can see the solutions immediately! Now I finally know what to do. If only I had found this wonderful book sooner!

I was pleased to look on the back cover and find that José, himself, has written a number of other art books in this series, dealing with many other topics. So often in a series, each book is written by a different author. José is such a wonderful art teacher that I am delighted to see HE has written all of them. I intend to purchase several more of his books, as soon as I am able.

Although oriented toward oil painters, Jose Parramon's color theory book is enlightening and informative for anyone who wishes to understand color. He explains the theory very simply and clearly, illustrating concepts with pertinent color examples from oil painting.

As a photoshop instructor helping my students understand color both on screen (made with light) and in print, and as a photographer seeking to capture harmonious images, I found the book to be very helpful in clarifying my understanding of color. I was pleased also to learn about the color of shadows, and how colors cast their complementary color onto neighboring objects - knowledge that helps not only with painting but also in regard to touching up photographs.

Unlike some of the past reviewers, I liked the use of the more technical CMYK colors as the primary rather than the RGB. I especially enjoyed the discussion of additive color changes and subtractive color changes. I work in stained glass and thus work with both methods of altering colors. It is important to me both how the glass will look when looked at directly and also how the colors will look when it is as transmitted light casting colors onto the surrounding room. Highly recommended.

...Are absolutely correct. The previous reviewer is
incorrect. Do a search on the web for primary colors
and you will see this is true.

And, I love the book.

Physics is a science that deals with matter and energy. Physics includes light, prisms, luminosity and color. In his book, Color Theory, Jose Parramon discusses the primary colors of light and the primary colors of pigments. Parramon's primary pigment colors are correct according to the laws of physics. The harmonization, contrast and shadows of color are intriguing topics. The Uses and Abuses of Black and White are worthy of notation. Parramon uses prussian blue, a fugitive color that disappears when paintings are stored in the dark. The Impressionists substituted transparent cobalt blue to replace transparent prussian blue. This book has excellence. Use Parramon's Color Theory as a reference for further study.

This is a great book for budding art students. I used this as my reference in my art classes in college. Very detailed and full of information. Even if you are not a natural artist, you will be able to develop your skill if you have a good guide such as this.

Color Theory (Watson-Guptill Artist's Library)

I just received "Color Theory" by Jose Parramon and I am a little bit puzzled by the price of this 1989 edition, slim 112-page book, with a price $16.95 on the back cover. The book itself is very interesting and useful. No doubt, just reading first few chapters, this is an excellent guide to any beginner in oil painting or a person interested in color theory and I highly recommended it. What puzzles me though are the prices for which this book sells from private sellers on Amazon. The prices range from $30-$130. This book is definitely good enough for $20-$30. I understand this is an out-of-print 1989 edition, but not sure whether I would buy this book for over $40. Also some sellers claim that the book is new. I would like to know how they preserved this book for twenty years to claim it to be new.

This will teach you things about color you haven't learned anywhere else. I found it very interesting. Excellent reference guide.

The book is worth buying when your a serious artist. the asking pricess however on amazon from these seller are over the top.The book is worth at least $20.00.Beats me!!!