Customer Reviews:
Worth every penny.......2007-08-16
Anyone serious about improving the color in their paintings should own this book. The reproductions are clear and lucious. The work is done in palette knife so the color notes are clean. It takes you step by step through several still life settings and excercises and shows how the objects were first divided into shadow and light patterns and then breaks down to the finer nuances of color. It teaches the student how to look closer and see the subtle temperature shifts of color. There are also several reproductions of completed paintings in the back that utilize the approach. Fortunately I bought it while it was still in print and cheap, but, I'd pay $60 for it if I didn't own it already.
Waste no more time with flaky, new age egopainting. This is it........2007-07-18
Arthur Stern, student of the legacy of that almost-lost thread that has passed through Classical art, the Renaissance masters, the Baroque masters, into Chase, Hawthorne, Henri (and his students- Bellows, Hopper, Kent, etc.), the Bay Area artists (etc.), offers up the eye-clearing humility, without BS, that is necessary to see in order to paint what Cezanne called the "ensemble".
Akin to tuning a guitar, the method reveals that the harmony of the few notes ("spots" of value/hue/chroma) must be chorded before you learn how to glue an American flag and a photocopy of the Twin Towers to your 21st Century bombast. THE FUNDAMENTAL basis for painting. A pathway, not to be viewed as a fixed style or dogmatic cul-de-sac, but a route of initiation to Beauty.
Hawthorne/Hensche purists irk me with their holier-than-thou, plein air fascism (and some of their students with how-to books should be, with Thomas Kincaid, whipped), but I DO agree that THIS IS THE DOOR TO THE WAY. Beautiful, simple truth. Reprint Stern's book before the world ends.
Reprint Please.......2001-11-07
How sad that this book is out of print. It is a wonderful book that deals with the process of isolating colors. First it starts you with a simple project and then progresses within each study exercise that you do. My gray view finder from class has now seen better days, however, I will always carry one with me and used it even to capture items for my journaling.
Kat Eldred.......2000-02-28
This book uncovers the mystery of painting. For anyone who wants to grasp the basic concepts of color in a very visual manner. A CLASSIC! If I had found this book sooner, I would not have paid so much for art instruction.
Book Description
Composition is one of the most important elements to any painting, but it can also be one of the most intimidating. The long list of rules for designing and structuring a work is complicated, hard to remember and downright mystifying. In this simple resource, Greg Albert boils it all down to one golden rule: Never make any two intervals the same. He demonstrates this fool-proof technique with clear, concise diagrams, before-and-after student paintings and samples from today's top painters. Readers will get to learn from the work of Frank Webb, Tony Couch, Zoltan Szabo, Tony Van Hasselt, Tom Lynch and many more! Artists of all levels with find this secret to great composition easy to remember and even easier to use.
Greg Albert is Editorial Director of North Light Books. He's also an artist, author and teacher who lives in Cincinnati, Ohio.
Customer Reviews:
A Watercolor Design Course in One Quick Book.......2007-06-27
This book is a great beginner book or review for anyone wanting to understand what it takes to plan and execute an engaging painting. The concise textual ideas are amply illustrated with many examples from actual paintings in progress. The ideas are easy to understand and apply. The presentation of design concepts is spiced up with excellently chosen graphics and diagrams. The author gives psychologically sound explanations as to why certain design ideas work, and others do not.
If you were an art major, and lost all your texts, you could start and end your library replacement right here. If you wish you had been an art major, but do not know where to start, this book is your answer. The author's words early on in the pages are quite true: "This book is intended to be read quickly, and referred back to often."
Basic Information on Composition.......2007-05-21
Like all kind's of book that proclaim to solve the problems with one "secret", this book is full of basic information about composition. It may be helfpul if you don't know anything about the subject, but if you are an serious art student I don't think that this is a great choice.
Useful For All Types and Styles of Art.......2007-03-23
The "One Rule of Composition" is actually three easy to remember and implement rules that will benefit any type or style of art. Pictures that accompany the text reinforce and demonstrate how the rules work.
Easy Read Chalk Full of Info.......2007-01-20
I would have to say that this is one of the best books I've read regarding art instruction. This book is well written, and it keeps you wanting to read the next page.In the introduction Mr. Albert makes an interesting statement. He says that the book should be read quickly and remembered forever. Well I certainly read it quickly, and would say that there are certainly things I'll remember forever, but I would have to say that I'm going to be using this book less as reading material and more as a reference tool.
As a self-taught musicain as well as an aspiring artist I have a rabid obsession with books. Many are written by very talented artist; but all too often it's as though the books were written to impress the reader with the authors amazing abilities, more-so than to teach.
I would call this book more along the lines of say an idiots guide to design and composition. This is by no means a knock on the author, it's actually one of the best compliments I can think of. Being the father of a child that wants to learn the melody to Beethoven's Ode to Joy, or to simply paint a "cool" looking picture in pastel or acrylic, I've noticed that it's easier for him "and me" to get to the meat of things. Dicussing the finer points of music theory, or the ancient theory on arts golden mean for painting composition are wonderful things to digest, but can also add some confusion to the less experienced artist.
I'm impressed that Mr. Albert has forgone the puff your chest out route and setteled for a format for his book that allows more immediate gratification. The title of this book is very bold, implying that you can improve your art immediately. I've seen numerous books that have similar titles with one little difference. This book delivers on it's promise.
I was amazed at how even some of the school children looking thumbnails placed here and there used to demonstrate both correct and
incorrect composition drove the point across. As an artist I lean more toward realism, yet would admit that occasionally an abstract piece will catch my eye. I've always wondered why this is and this book did more then tell me, it let me see what these paintings had that made me put aside my prejudices against abstract art.
Currently I'm giving music lessons. My goal is to hopefully find ways to express to the students how to bypass some areas that are best learned after you have some confidence built up. If I can do this even half as well as Greg Albert did in this book I'll be happy. I've never written a book review before this even though theres many I have read that are in and of themselves good instruction manuals, but I felt compelled to write a review on this book. There is no magic pill for better art, but this book has helped me minimize some frustration and has allowed me to approach art in a much more confident way. This book is more like a straight highway without turns, mountains, or hills so you can arrive at your destination sooner.
Outstanding book on composition for painting & photography.......2006-08-16
I avoided this book just because I was suspicious of the title, there are no secrets, just information. But I finally gave in and ordered it because everyone is talking about it and they say it is that good. I had it on my bookshelf for a while when I was reviewing another book on photography and one reviewer recommended this book (Simple Secret to Better Painting). I'm a painter and a photographer, both amateur, and was suprised to see a photographer recommending it. So I took it with me on a weekend trip.
I really enjoyed the book. Though I still dislike the title. The one rule is just "don't make any two things the same". But what the author does is show how that applies to all aspects of painting (and photography). composition & the rule of thirds, contrasts in the painting, cropping, colors, textures, etc. The best part of the book is that there are small thumbnails showing what is bad and what is good. And finally, unlike most art books which serve only to show the author's work, this book showcases absolutely wonderful work from a variety of artists. Most watercolorists, and I have a new interest in watercolor because of this book. The paintings aren't just there for eye candy, the author uses them to demonstrate the concepts discussed in the book.
Overall I cannot recommend the book enough. Don't be put off by the title. Buy it, read it, and practice it. I'm confident it would make anyone's art better.
Book Description
An engaging and often amusing account of the little known use of artists, designers, and architects as army, navy, and civilian camouflage experts (called "camoufleurs") during World Wars I and II. Described and illustrated are documented attempts--some ingenious, others bizarre--at "fooling the eye" by such prominent artists (from France, England, the US, and Germany) as Abbott H. Thayer, Jean-Louis Forain, Andre Dunoyer de Segonzac, Jacques Villon, Grant Wood, Thomas Hart Benton, Norman Wilkinson, Everett Warner, Sherry Fry, Barry Faulkner, Homer Saint-Gaudens, John Singer Sargent, Frederic Waugh, Edward Seago, Blair Hughes-Stanton, Charles Burchfield, Oskar Schlemmer, Franz Marc, Edward Wadsworth, William Stanley Hayter, Roland Penrose, Julian Trevelyan, Eric Sloane, Laszlo Moholy-Nagy, Gyorgy Kepes, Jon Gnagy, Arshile Gorky, Victor Papenek, and Ellsworth Kelly.
Illustrated by 120 vintage photographs, diagrams, and artworks, the text explains how the strategies used to conceal objects in nature and warfare are based on the very same "unit-forming factors" that artists, designers, and architects use every day in the creation of paintings, prints, fonts, logos, page layouts, web sites, furniture, buildings, and so on.
Throughout the book, the author makes shrewd observations about the connections of art, design, and camouflage to such seemingly wide-ranging topics as Gestalt psychology, esthetics, Cubism, Dada, Surrealism, psychoanalysis, kindergarten, creativity, the Bauhaus, Frank Lloyd Wright, humor, dream analysis, Rockwell Kent, poetry, pickpockets, and sleight of hand.
Of additional interest are a camouflage timeline, an account of the etymology of the word camouflage, and a 10-page bibliography, the largest ever compiled on the subject of art and camouflage.
Average customer rating:
- Vision and Photography
- Outstanding
- Shows you how you see and how you paint
- Fascinating Science of Visual Art
- Worth a Look
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Vision and Art: The Biology of Seeing
Margaret S. Livingstone
Manufacturer: Harry N. Abrams
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Visual Intelligence: How We Create What We See
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Cognition and the Visual Arts
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Visual Thinking
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Eye and Brain
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The Science of Art: Optical Themes in Western Art from Brunelleschi to Seurat
ASIN: 0810904063 |
Amazon.com
What is it that makes the work of Monet, van Gogh, da Vinci, and Warhol so visually arresting? How do our eyes and brains coordinate to perceive line and color?
Neurobiologist Margaret Livingstone addresses these and many other questions in Vision and Art, a lively look at the science underlying art. She writes accessibly, but with plenty of technical depth, on such matters as the nature of light and the visible spectrum, the organization of visual-image processing, the structure of the vertebrate eye and brain, and individual and culturally conditioned perceptions of color. Using well-known works of art as case studies, she offers fascinating bits of trivia (on, for instance, how pastels are made and why purple dyes are so rare) alongside practical information for artists (for example, how high-contrast contours and evenly distributed luminance attract the eye).
The result is a literate, lucid blend of art and science that will appeal to artists and connoisseurs alike. --Gregory McNamee
Customer Reviews:
Vision and Photography.......2005-10-17
This is a book that every teacher of photography and serious photographer should read and study and re-read. Although the book contains no photographic examples, there are plenty of examples in famous paintings to support the visual research Dr. Livingtson so clearly writes about. The examples in paintings are easily transferable
to a number of familiar and famous photographs.
Ever wonder what Ansel Adams and Edward Weston were so successful with the black-and-white photographs but not with their color photographs? I have, and her book has provided me with insights into this and other photographic practices.
Outstanding.......2005-03-16
After reading it, you'll want to keep it close to you. That way, you'll never forget how important art and science are in your life.
Shows you how you see and how you paint.......2004-01-17
Margaret Livingstone has produced a book so very useful to visual artists that it may, in its density of ideas, seem definitive rather than evocative. But evocative it is. As we learn from studying it, Livingstone's book offers implications that may be developed by any artist who reads it in almost any direction. One might take as an example the very rich Chapter 8, with its notions of luminance as a balance for the salience, or pushiness of certain colors - how Leonardo handled it, how Ingres handled it, and how today's painter or digital image maker might go even further. The size and shape of the book allow for illustrations that work on the eye at the right scale. And there is an overall visual loudness to the book that is jarring and satisfying.
The author gets to the structure of our visual systems, makes them very clear, and tells us things that are lasting and verifiable. Her spirit of personal experimentation shows in the book, and makes us think that looking inquisitively at the world will pay off.
Fascinating Science of Visual Art.......2003-06-09
Some teasers on the back cover:
"Why do Claude Monet's fields of flowers seem to wave in the breeze?"
"What is the secret of Mona Lisa's smile?"
The first two chapters cover some scientific fundamentals- how light and the human vision works. While this is all very scientific, every effort is made to make it understandable, with plenty of full-color diagrams illustrating the concepts. While these 2 chapters are not the easiest to read, they're not rocket science either, and provide a valuable foundation for the rest of the book. Not essential but VERY useful.
Things start to get interesting toward the end of the 2nd chapter, when we start to understand what a red/green colorblind person sees. But the best stuff starts to come in the third chapter ("Luminance and Night Vision"). Plenty of interesting illustrations are provided in this chapter (like red cherries in a blue bowl, where the cherries appear brighter or darker than the bowl depending on the ambient light, or flickering polkadots), and continues until the rest of a book, making it a truly fascinating read.
Oh, and the explanation on Mona Lisa's enigmatic smile is very convincing.
I definitely recommend this book to anyone interested in both visual art and science.
I also recommend it to anyone who's interested in science and how things work- you'll appreciate some art pieces a lot more after reading this book.
Worth a Look.......2003-01-30
This volume is very good at covering how the human visual system operates and how that affects the artist and art viewer. It's not too dense with abstruse scientific detail and it contains lots of good examples and demonstrations. The writing style and
organisation of the book are also clear.
On the whole, I would recommend this book to anyone interested in the visual arts, although the scope of the book is not large.
Book Description
The most vital recent information on the relationship of visual perception to color expression in art is presented here in clear detail. Faber Birren, one of the best-known colorists of our time, prepares us for what he believes will be a new era of color expression. Pioneered by gestalt psychology many secrets of the brain are rapidly being discovered, resulting in creative new principles of color. The book is divided into three sections. First the history of nineteenth-and twentieth-century color expression is traced from Turner through Impressionism to Op Art. Next the parallel history of color theory is covered. Finally, the new concepts and interpretations of illumination, color constancy, adaptation, and the Law of Field Size, which created a revolution in the possibilities of color expression in art and their aesthetic implications, are discussed. These sections are supplemented by numerous black and white photographs of representative paintings, explanatory line drawings and the abstract, geometric color plates themselves-of the incomparable beauty and quality that are the hallmark of Faber Birren.
Customer Reviews:
Color Story.......2001-05-12
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.
Book Description
"Birren presents a kaleidoscopic view of color information that has been a source of fascination…" — Color Research and Application "Keeps up with the latest developments in biology and psychology where light and color are involved." — AIA Journal Here is a major work by one of the best-known color authorities in the world. Faber Bitten pioneered in the field of "functional" color, using color properties to promote human welfare psychologically, visually, and physiologically; in this volume he has assembled a wealth of information on the subject. Color and Human Response offers intriguing factual and hypothetical observations on the influences of color in life, supported by historical references and the latest scientific data. Birren explores the biological, visual, emotional, aesthetic, and psychic responses to color — referring both to ancient symbolic uses of color as well as its application in the modern environment. His specifications for color in homes, offices, hospitals, and schools are geared toward relieving modem tensions and anxieties. Complete with drawings, color photographs, and a chapter on the personal meaning of color preferences, Color and Human Response will fascinate anyone concerned with the human environment, including scientists and psychologists. It has become a basic reference for architects, teachers, and interior and industrial designers.
Customer Reviews:
A Well Rounded Resource for Students.......2000-08-09
This book is an excellent tool for gaining an understanding the broad implications of color's effects on humans. It deals with everything from the scientific to the mystic. It is well organized and easy to understand.
Color and Human Response.......2000-04-18
The last chapter of this book is informative and interesting on why people prefer certain colors. This information is helpful to know how to choose colors for interior/exterior decorating, art work, and understanding people. The rest of the book deals with metaphysics and psycho-babble.
Color and Human Response.......2000-04-18
The last chapter of this book is informative and interesting on why people prefer certain colors. The rest of the book deals with metaphysics and psycho-babble.
Book Description
“The longer you work, the more the mystery deepens of what appearance is, or how what is called appearance can be made in another medium."—Francis Bacon, painter
This, in a nutshell, is the central problem in the theory of art. It has fascinated philosophers from Plato to Wittgenstein. And it fascinates artists and art historians, who have always drawn extensively on philosophical ideas about language and representation, and on ideas about vision and the visible world that have deep philosophical roots.
John Hyman’s The Objective Eye is a radical treatment of this problem, deeply informed by the history of philosophy and science, but entirely fresh. The questions tackled here are fundamental ones: Is our experience of color an illusion? How does the metaphysical status of colors differ from that of shapes? What is the difference between a picture and a written text? Why are some pictures said to be more realistic than others? Is it because they are especially truthful or, on the contrary, because they deceive the eye?
The Objective Eye explores the fundamental concepts we use constantly in our most innocent thoughts and conversations about art, as well as in the most sophisticated art theory. The book progresses from pure philosophy to applied philosophy and ranges from the metaphysics of color to Renaissance perspective, from anatomy in ancient Greece to impressionism in nineteenth-century France. Philosophers, art historians, and students of the arts will find The Objective Eye challenging and absorbing.
Customer Reviews:
Thoroughly worth reading.......2007-05-01
At last we have a thorough going critique of the subjectivist position. This book is equally suited to those approaching the subject from the philosophical viewpoint and those who are active workers in the fields of visual representation.
Book Description
In the grasslands of Africa, a group of young animals think they know all about the crocodile who swims in the river beneath their school. He is the most ferocious creature on earth . . . or is he? When the animals try painting portraits of him, they learn there is no one way to see anything, even a crocodile. In this heartwarming tale, author and illustrator Eva Montanari makes abstract concepts easy to understand, bringing them vividly to life. With age-appropriate text and gorgeous illustrations, The Crocodile's True Colors uses adorable animals and a captivating, yet simple plot to draw children into learning about perception and art. A true delight for story lovers of all ages!
Customer Reviews:
RECOMMENDED by LIBRARY MEDIA CONNECTION.......2003-01-25
The following review appeared in the January 2003 issue of LIBRARY MEDIA CONNECTION:
Even young children will come to understand various styles of art, including Expressionism, Cubism, Futurism, Abstractionism, and Dada, as they follow the artwork of a school full of African animals.... This is a clever way of helping children understand how art styles work, and art teachers will appreciate having it.... The author's effective watercolor illustations help children understand artistic variations. RECOMMENDED.
Average customer rating:
- And then there was light...
|
Colour Perception: A Practical Approach to Colour Theory
Tim Armstrong
Manufacturer: Tarquin
ProductGroup: Book
Binding: Paperback
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ASIN: 090621274X |
Customer Reviews:
And then there was light..........2000-04-29
We have all, at one time or another, heard this expression and may have left it at that. This book leads you into the aftercome of that same light. The creation of colour. It is basic knoledge that colour exists only because of light. But to what extent do we understand this common everyday perception phenomena? Read this book and you will find out.
Book Description
There is an ever-increasing demand for a standard way to transport colours among devices on the Internet, and for achieving colour fidelity across digital media. The rapid growth in colour imaging technology has led to the emergence of colour management systems. These systems require colour appearance models so that images produced in one medium and viewed in a particular environment, may be reproduced in a second medium and viewed under different conditions.
The eagerly anticipated second edition of Colour Appearance Models brings the fundamental issues and current solutions in the area of colour appearance modelling together in a single place for those needing to solve practical problems or looking for background for ongoing research projects. This book provides the relevant information for an updated review of colour appearance and provide details of many of the most widely used models to date, for example, Nayatani et al., Hunt, and RLAB and the ATD and LLAB appearance models that are of increasing interest for some applications. It also includes the recently formulated CIECAM02 model that represents a significant improvement of CIECAM97S and is the best possible model based on current knowledge. Fairchild presents an updated overview of device-independent colour imaging and finally introduces the concept of image appearance modelling as a potential future direction for colour appearance modelling research.
A website accompanies this text that lists developments, publications and calculations related to the material in this book.
Download Description
There is an ever-increasing demand for a standard way to transport colours among devices on the Internet, and for achieving colour fidelity across digital media. The rapid growth in colour imaging technology has led to the emergence of colour management systems. These systems require colour appearance models so that images produced in one medium and viewed in a particular environment, may be reproduced in a second medium and viewed under different conditions. The eagerly anticipated second edition of Colour Appearance Models brings the fundamental issues and current solutions in the area of colour appearance modelling together in a single place for those needing to solve practical problems or looking for background for ongoing research projects. This book provides the relevant information for an updated review of colour appearance and provide details of many of the most widely used models to date, for example, Nayatani et al., Hunt, and RLAB and the ATD and LLAB appearance models that are of increasing interest for some applications. It also includes the recently formulated CIECAM02 model that represents a significant improvement of CIECAM97S and is the best possible model based on current knowledge. Fairchild presents an updated overview of device-independent colour imaging and finally introduces the concept of image appearance modelling as a potential future direction for colour appearance modelling research. A website accompanies this text that lists developments, publications and calculations related to the material in this book.
Customer Reviews:
Fascinating, educational and an excellence reference.......2000-09-07
This book, by one of the leading scientists on the subject, introduces the relatively recent domain of color appearance. That is, the study of the *subjective* appearance of colors, depending on their surrounding, background, context, etc. The emphasis is thus on the various effects which affect our perception of colors (light intensity, background, simultaneous contrast, etc.) and their modeling.
A must have for all those working with colors. The presentation is very educational, the visual illusions are fascinating, it is both a pleasure to read and an excellent reference to consult on the subject.
It introduces human vision and the perception of colors, the field of psychophysics and its methods, colorimetry (the objective study of physical colors), and the rest of the book is dedicated to color appearance itself. Important terminologies are discussed (e.g. the crucial difference between luminosity, brightness and lightness), then color systems (Munsel, etc.), then the various effects which affect the appearance of colors, viewing conditions, chromatic adaptation, perceptually uniform color spaces, and analytical color appearance models. Different models are reviewed and compared (Hunt, Nayatani, RLAB, preversion of CIECAM). Finally applications and device-independent imaging are described.
Note that this book is not a book on colorimetry (see Wyszecki and Stiles) nor a book on color reproduction (see Hunt), but a book on the subjective appearance of colors.
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