This beautifully produced and lavishly illustrated introduction to contemporary color offers working artists valuable insight into traditional color theory while examining the effective use of color in digital applications and 3D design work. Written by a leading design educator whose work is widely exhibited, Contemporary Color features a balanced examination of theory and its practical application in a technology-driven world. Topics range from color perception, color harmonies, pigments, colorants, and paints to digital color and 3D design. An intriguing discussion of the psychological impact of color and the future of color add a stimulating dimension to the book. Thoughtful contributions on creativity and best practices round out the inclusive coverage.
Understanding Color and Light for Beauty and Special Effects
Author: Katie Middleton
Color Theory for the Make-up Artist: Understanding Color and Light for Beauty and Special Effects analyzes and explains traditional color theory for fine artists and applies it to the make-up artist. This book is suitable for both professionals and beginners who wish to train their eye further to understand and recognize distinctions in color. It explains why we see color, how to categorize and identify color, relationships between colors, and it relates these concepts to beauty and special effects make-up. The book teaches the reader how to mix flesh tones by using only primary colors, and explains how these colors in paints and make-up are sourced and created. It also discusses the reason for variations in skin colors and undertones, and how to identify and match these using make-up, while choosing flattering colors for the eyes, lips, and cheeks. Colors found inside the body are explained for special effects make-up, like why we bruise, bleed, or appear sick. Ideas and techniques are also described for painting prosthetics, in addition to using color as inspiration in make-up designs. The book also discusses how lighting affects color on film, television, theater, and photography sets, and how to properly light a workspace for successful applications.
My aim in this introductory text is to present a comprehensible discussion of certain technical topics and recent developments in color science that I believe are of real interest to artists and designers. I treat a number of applications of this knowledge, for example in selection and use of colorants (pigments and dyes) and light. Early in the book I discuss what color is and what its characteristics are. This is followed by a chapter on pertinent aspects of light, light as the stimulus that causes the perception of color. Then the subject of the colors of opaque and transparent, nonfluorescent and fluorescent materials is taken up. There are sections on color matching, color mixture, and color primaries. Chapter 6 introduces the basic ideas that underlie the universal method (CIE) of color specification. Later chapters show how these ideas have been extended to serve other purposes such as systematic color naming, de termining complementary colors, mixing colored lights, and demonstrating the limitations of color gamuts of colorants. The Munsell and the Ostwald color systems and the Natural Colour System (Sweden) are explained, and the new Uniform Color Scales (Optical Society of America) are described. Color specification itself is a broad topic. The information presented here is relevant in art and design, for those who work with pigments and dyes or with products that contain them, such as paints, printing inks, plastics, glasses, mosaic tesserae, etc.
Color Theory and Modeling for Computer Graphics, Visualization, and Multimedia Applications deals with color vision and visual computing. This book provides an overview of the human visual system with an emphasis on color vision and perception. The book then goes on to discuss how human color vision and perception are applied in several applications using computer-generated displays, such as computer graphics and information and data visualization. Color Theory and Modeling for Computer Graphics, Visualization, and Multimedia Applications is suitable as a secondary text for a graduate-level course on computer graphics, computer imaging, or multimedia computing and as a reference for researchers and practitioners developing computer graphics and multimedia applications.
Release on 2019-01-30 | by Maya Gomez,Vreni Michelini-castillo
Author: Maya Gomez,Vreni Michelini-castillo
Pubpsher: Wolfman Books
Literary Nonfiction. Poetry. Art. Film. California Interest. Asian & Asian American Studies. African & African American Studies. Latinx Studies. Middle Eastern Studies. Women's Studies. LGBTQIA Studies. COLOR THEORY brings together womxn and gender non-conforming working artists of color from four generations to explore the intersections of race, gender, class and labor in and around art institutions. Edited by Maya Gomez and Vreni Michelini Castillo, these reflections, stories, and remedies (through essay, image, and poetry) engage a multidisciplinary and intergenerational dialogue around ethical aesthetics, systemic oppression, and the ritual landscape. More than a simple indictment (though indict it, unabashedly, does), COLOR THEORY is a must-read collection of communal solidarity, critical resistance and creative healing. "We are not afraid of color," the editors declare, "because we are the embodiment of color." Contributors include Celia Herrera Rodríguez, Nasim Aghili, Onyinye Alheri, Grace Rosario Perkins, Leila Weefur, Melinda Luisa de Jesús, Shylah Pacheco Hamilton, Lukaza Branfman-Verissimo, Jen Everett, Keara Gray, Shah Noor Hussein, Las Nietas de Nonó, Vreni Michelini Castillo, Maya Gomez.
In depth demonstrations teach how to interpret the basic shapes of the head and facial features. Everyone who paints or draws portraits worries most about one thing: getting an accurate likeness. But getting a likeness doesn't take genius and isn't based on a bag of tricks. It's really a matter of learning to use a logical procedure, based on careful observation of the subject, and then lots of practice. Drawing a Likeness is divided into three parts. In the first part you learn how to analyze a head--how to recognize the basic shapes and their variations, and place the features within the larger form of the head. Drawings of many different subjects serve as examples. In the second part, the actual drawing procedure is analyzed in minute detail as three different-shaped heads--oval, rectangular, and round--are drawn. Each of these three demonstrations contains a photograph of the subject and develops the portrait in great detail (45 actual steps) right down to the finished drawing. In the third part of the book, you learn how to use different combinations of drawing materials to create a wide range of effects: charcoal, Conté, and carbon pencils on both gray and white charcoal paper, graphite pencils on illustration board, soft and hard charcoal sticks and pencils on smooth board, charcoal and carbon pencil worked over acrylic-gessoed chipboard. There are six demonstrations in this section showing how to draw men and women of different ages. Each demonstration has ten steps, one per page, and includes a photograph of the subject. Drawing a Likeness is a basic, practical book for anyone who has ever tried to draw or paint a portrait--students, amateurs, professionals, and teachers.