Petite histoire des couleurs
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Des pigments ornant les grottes préhistoriques aux néons lumineux de Dan Flavin en passant par les monochromes d’Yves Klein et les créations de Véronèse, Van Gogh, Delaunay, Warhol et Rothko, cet ouvrage explore à travers 60 chefs-d’œuvre, l’histoire, les matériaux et la symbolique des couleurs à travers les siècles et les cultures. Accessible, concis et richement(...)
Petite histoire des couleurs
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Des pigments ornant les grottes préhistoriques aux néons lumineux de Dan Flavin en passant par les monochromes d’Yves Klein et les créations de Véronèse, Van Gogh, Delaunay, Warhol et Rothko, cet ouvrage explore à travers 60 chefs-d’œuvre, l’histoire, les matériaux et la symbolique des couleurs à travers les siècles et les cultures. Accessible, concis et richement illustré, le livre nous explique les quand, comment et pourquoi de l’évolution des couleurs.
Colour Theory and Design
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Over the millennia, humans have used pigments to decorate, narrate, and instruct. Charred bone, ground earth, stones, bugs, and blood were the first pigments. New pigments were manufactured by simple processes such as corrosion and calcination until the Industrial Revolution introduced colors outside the spectrum of the natural world. "Pigments" brings together leading(...)
Colour Theory and Design
June 2024
Pigments
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Over the millennia, humans have used pigments to decorate, narrate, and instruct. Charred bone, ground earth, stones, bugs, and blood were the first pigments. New pigments were manufactured by simple processes such as corrosion and calcination until the Industrial Revolution introduced colors outside the spectrum of the natural world. "Pigments" brings together leading art historians and conservators to trace the history of the materials used to create color and their invention across diverse cultures and time periods. This richly illustrated book features incisive historical essays and case studies that shed light on the many forms of pigments—the organic and inorganic; the edible and the toxic; and those that are more precious than gold. It shows how pigments were as central to the earliest art forms and global trade networks as they are to commerce, ornamentation, and artistic expression today. The book reveals the innate instability and mutability of most pigments and discusses how few artworks or objects look as they did when they were first created.
Colour Theory and Design
Remarks on color
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Artist, critic and poet Eve Wood has a ribald sense of humor and for decades has had a distinctive presence in the Southern California art world. This is her first monograph, featuring a collection of off-beat, imaginative color studies populated with birds, animals and irreverent, sometimes naughty personae. Short, laugh-out-loud prose accompanies each of the portraits(...)
Remarks on color
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Artist, critic and poet Eve Wood has a ribald sense of humor and for decades has had a distinctive presence in the Southern California art world. This is her first monograph, featuring a collection of off-beat, imaginative color studies populated with birds, animals and irreverent, sometimes naughty personae. Short, laugh-out-loud prose accompanies each of the portraits and vivid scenes. Her dog sleeps on a Ukranian-gold and blue rug; her raven vacuums the house; absurd characters from movies and art stand in for obnoxious or dreamy colors; and the birds – so many birds – sing of freedom.
Colour Theory and Design
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"Interaction of color" is often presented as an overarching theory of color, but it is actually a method of learning how to better see and understand color—many of the color exercises illustrated in "Interaction of color" were devised by Albers’s students: cutting and pasting, looking, pondering, and learning. This workbook companion is a teaching tool designed to enable(...)
Interacting with color: A practical guide to Joself Alber's color experiments
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"Interaction of color" is often presented as an overarching theory of color, but it is actually a method of learning how to better see and understand color—many of the color exercises illustrated in "Interaction of color" were devised by Albers’s students: cutting and pasting, looking, pondering, and learning. This workbook companion is a teaching tool designed to enable readers to engage in the kinds of tactile creativity and exploration that characterized Albers’s own classroom. Focusing on eight of the most important lessons in "Interaction of color", this book invites readers to learn by doing, using only simple materials. Core instructions for each exercise are enhanced by additional tips, references to Albers’s original text and illustrations, and stories about how Albers presented the ideas in class. The book and exercises are sufficiently nuanced to challenge and inspire seasoned artists, designers, and educators while also being readily accessible to younger readers and less-experienced practitioners.
Colour Theory and Design
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Basic colour is a guide to colour mixing and colour theory for students, artists and designers. Logical, easy-to-follow diagrams, tonal charts, complementary scales, colour-wheel exercises and colour tricks, will help you to mix colours and expand your colour vocabulary. Jane de Sausmarez, teaches colour theory and practice in the Conservation Department of the City &(...)
Basic colour: a practical handbook
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Basic colour is a guide to colour mixing and colour theory for students, artists and designers. Logical, easy-to-follow diagrams, tonal charts, complementary scales, colour-wheel exercises and colour tricks, will help you to mix colours and expand your colour vocabulary. Jane de Sausmarez, teaches colour theory and practice in the Conservation Department of the City & Guilds of London Art School.
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October 2008, London
Colour Theory and Design
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Neon addict
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Eight groups of designers have produced works showing effective and interesting uses of fluorescent inks in this printed book. Also includes concept notes, PANTONE ink colors and a selection of papers from matte to coated.
Neon addict
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Eight groups of designers have produced works showing effective and interesting uses of fluorescent inks in this printed book. Also includes concept notes, PANTONE ink colors and a selection of papers from matte to coated.
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July 2008
Colour Theory and Design
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The Color Accordion is a handy, manageable instrument for the creation of colour tones. It is based on 36 colour hues in the shape of square passe-partouts. By turning the mats in intervals of 90 degrees, four shades at a time make up continuous chords of four. There are more than one million chord variations. With the Color Accordion, the squaring of the circle is(...)
Color accordion, instrument zur farbgestaltung, color design tool
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The Color Accordion is a handy, manageable instrument for the creation of colour tones. It is based on 36 colour hues in the shape of square passe-partouts. By turning the mats in intervals of 90 degrees, four shades at a time make up continuous chords of four. There are more than one million chord variations. With the Color Accordion, the squaring of the circle is accomplished in a constructive and playful way.
Colour Theory and Design
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It is known that one and the same interior colouring will appear different in rooms with windows facing north or facing south. What is not known is how natural daylight from these two compass points affects perceived colour and the ways in which colour is experienced. The objective of this study is to describe the perceived colours to be expected in rooms with sunlight(...)
Daylight influence on colour design: empirical study on perceived colour and colour experience indoors
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It is known that one and the same interior colouring will appear different in rooms with windows facing north or facing south. What is not known is how natural daylight from these two compass points affects perceived colour and the ways in which colour is experienced. The objective of this study is to describe the perceived colours to be expected in rooms with sunlight and diffused light, and thus to develop a tool for colour design.
Colour Theory and Design
La couleur dans la ville
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Dans les décennies d'après-guerre, la couleur semblait avoir déserté la ville. Aujourd'hui, elle retrouve pleinement son droit de cité et investit aussi bien les immeubles de logement que les bureaux, les équipements, et même les infrastructures de transport. Les architectes et les urbanistes la considèrent comme indispensable à la compréhension de l'espace urbain et à la(...)
La couleur dans la ville
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Dans les décennies d'après-guerre, la couleur semblait avoir déserté la ville. Aujourd'hui, elle retrouve pleinement son droit de cité et investit aussi bien les immeubles de logement que les bureaux, les équipements, et même les infrastructures de transport. Les architectes et les urbanistes la considèrent comme indispensable à la compréhension de l'espace urbain et à la qualité de vie des habitants, susceptible d'enrichir l'environnement en lui apportant lisibilité, rythme et perspective. Cet ouvrage dresse un panorama historique de la couleur dans Le milieu urbain au cours du XXe siècle, avec des éclairages sur certains mouvements emblématiques tels que l'Art nouveau, l'avant-garde russe, le modernisme ou L'art cinétique. Il décrit ensuite les outils et les méthodes - gammes, palettes, nuanciers - qui permettent d'intervenir dans le paysage urbain avec rigueur et subtilité. Un certain nombre d'expériences, menées dans les domaines de La restauration chromatique du patrimoine urbain et de l'architecture contemporaine, retracent les démarches exemplaires de certains concepteurs. Depuis Jean-Philippe Lenclos, qui parcourt le monde pour constituer des " atlas de la couleur ", au Centre de la couleur de Moscou, qui œuvre à l'échelle de la métropole tout entière, et jusqu'aux architectes comme Jean Nouvel ou Christian de Portzamparc, qui utilisent la couleur (et de plus en plus la couleur-lumière) comme un matériau à part entière, nombreux sont les acteurs qui montrent que la question de la couleur dans nos villes, loin d'être marginale, est aujourd'hui devenue centrale.
Colour Theory and Design
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Au cours du XXe siècle, l'architecture a largement ignoré la couleur, et si ce mépris n'est plus à l'ordre du jour, loin de là, il subsiste à son égard une méconnaissance de ses possibilités et des conditions pour optimiser son utilisation. En effet, la couleur n'est pas anodine, elle est matière à part entière : elle peut transformer l'espace architecturé et le valoriser(...)
Chromo-architecture : l'art de construire en couleur
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Au cours du XXe siècle, l'architecture a largement ignoré la couleur, et si ce mépris n'est plus à l'ordre du jour, loin de là, il subsiste à son égard une méconnaissance de ses possibilités et des conditions pour optimiser son utilisation. En effet, la couleur n'est pas anodine, elle est matière à part entière : elle peut transformer l'espace architecturé et le valoriser si elle répond à une réelle prise en compte du milieu naturel et construit dans lequel elle s'exerce, et des enjeux auxquels elle est confrontée. Largement illustré par des exemples tirés de projets, de références de chantier, de réalisations concrètes, «Chromo-architecture» propose une réflexion à la fois théorique et pratique sur l'application de la couleur dans l'environnement, l'urbanisme et l'architecture.
Colour Theory and Design