Kunst der Farbe by Itten, Johannes, December , Wiley edition, in English. I love this book, and would recommend it to anyone into color theroy. Itten is a color genius, and this book proves it. The Elements of Color by Johannes Itten. johannes itten the art of color pdf - Google Search. Johannes Itten, Bauhaus Art , Color Studies, Walter Gropius, Paint Color Palettes,. More information.
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book, The Art of Color, published in Germany in This profundity of Itten, by advice and example, draws. The larger work has been translated into French. File:Itten Johannes The Elements of mmoonneeyy.info mmoonneeyy.info (file size: MB, MIME type: application/pdf). Adolf Holzel exercised an important influence on modern art with his theory of color. Now with his ART OF COLOR Johannes Itten makes a contribution.
Lavishly illustrated, the volume contains many color plates, including 15 plates from the original French edition, photographs of Gobelins tapestries, and full-page reproductions of outstanding Impressionist and Neo-Impressionist paintings. If there ever was a codification millions of colors in relation to primaries it is in the design of these systems used by all of us. And I regret it. I love this book, and would recommend it to anyone into color theroy. It is a discription of his Basic Course everyone had to take it
The problems of visual, emotional and symbolic color effects are carefully explored with numerous color illustrations.
The systematic color exercises are followed by outstanding reproductions of paintings by the great masters - 28 large size, four-color plates - which offer insight into all the epochs of Western painting from the early Middle Ages to Klee and Picasso. With each reproduction is one of Professor Itten's famous analyses which proves how conscious awareness and use of color contrast has been an important means of expression.
This gives an extraordinary approach to the understanding of expressionistic painting.
It also represents the crowning point of the book for the viewer of art. According to Itten composition implies brining two or more colors together in such a way that they harmonize to give an expression unambiguous and full of character.
It could only be done by producing the various color plates by entirely different printing processes, which had to be done by several printers, and then tipping them into the book.
When a reprinting was planned in , it had by then become possible to make use of the advanced technical developments in offset printing, and the entire book was produced by this printing process. Altogether great care was taken to preserve the excellence of the original edition, Contents and order of pages were retained, some of the illustrations were enlarged and veracity was improved as far as the existing material allowed.
Our aim for this new printing was to once again make available in its best form Johannes Itten's color course, while at the same time strictly adhering to his principles of presentation. Nenhuma oferta encontrada.
John Wiley and sons. The author does relate some good input when critiquing paintings but you need pay complete attention to the beginning of the book in order to understand his complicated formulas. It is definetely not an easy read, and not for the artist.
This book is for the art critic who tries to find scientific formulas for the study of composition. Chevreul, is unquestionably one of the greatest books ever written on color; the first English translation is reprinted here with the original color restored and an introduction and explanatory notes by Faber Birren, the leading color authority of the present time. Chevreul's book dominated the schools of Impressionism and Neo-Impressionism, and exerted profound influence on later schools of painting including today's Op Art.
Chevreul set forth principles that have become basic in color training throughout the Western world. In his illuminating commentary Mr. Birren shows how many of Chevreul's ideas on color harmony, contrast effects, optical mixtures, and legibility have been validated by modern scientific research in visual perception.
Birren also provides a helpful glossary of Chevreul's terminology. Lavishly illustrated, the volume contains many color plates, including 15 plates from the original French edition, photographs of Gobelins tapestries, and full-page reproductions of outstanding Impressionist and Neo-Impressionist paintings.
Essential as a reference book for artist and art educators, this volume will also be a source of fresh inspiration for fashion designers, interior decorators, and all others concerned with color in any medium-and it makes good reading for all those interested in the history of men and ideas. Color and Culture: Practice and Meaning from Antiquity to Abstraction by John Gage Reviewer from Mesa, Arizona, USA This book is an excellant source of palette development, pigment uses and development as well as color theories throughout history.
My students have worn out my copy -- needs to be reprinted and made known in college art departments. Good, solid informational writing and illustrations. A must-have book for artists and students. Color and Meaning: Art, Science, and Symbolism by John Gage Reviewer from Dallas, Texas John Gage, the most thorough and clear-thinking historian of color theory, has produced another superb book, rich in references and sound historical bases from which we may go forward ourselves.
There are a number of things any reader will delight in finally grasping.
With me, it was that interesting distinction between pluralist and unified color modes page that I finally understand; and there are many other sound explanations that will delight the serious student of color.
It is all the more baffling that Gage never reaches a discussion of such things as Land's color theory in relation to Polaroid, and even more important, the workings of color in the computer and its printer. If there ever was a codification millions of colors in relation to primaries it is in the design of these systems used by all of us.
Yet Color and Meaning reads as if the computer has not yet been invented. I yearned to get to those chapters, but they were not there.
And I regret it. It's a good reference for design conventions similarity, anomoly, gradation, radiation with examples. Three-d section uses geometric constructions and doesn't use plastic examples.
Strong 2-d resource. Less useful for 3-d. All my other art books mention the neccessity of sound composition and eye movement but none give the detailed breakdown of how that's accomplished or why it fails.
This book does. You aren't just told - it's broken down for you explicitly with dozens of examples from famous paintings.
All kinds of compositions are examined. Entrance and Exit - getting into the picture, getting out of the picture 3.