Book Description
Increasing use of digital signals for transmitting data in television, photography and printing means the reproduction of pictorial colour in the 21
st century continues to drive innovation in its development.
Hunt’s classic text The Reproduction of Colour has been fully revised and updated for the sixth edition to provide a comprehensive introduction to colour imaging and colour reproduction. New illustrations, diagrams and photographs ensure that both students and practising engineers using colour images can gain a full understanding of the theory and practical applications behind the phenomena they encounter.
Key features:
- Describes the fundamental principles of colour reproduction for photography, television, printing and electronic imaging.
- Provides detailed coverage of the physics of light and the property of colorants.
- Includes new chapters on digital printing and digital imaging, which discuss colour reproduction on HDTV and desktop publishing.
- Presents expanded coverage of the evaluation of colour appearance.
The Reproduction of Colour is already used as a basis for lectures in universities and specialist institutions and continues to be an essential resource for scientists, engineers and developers needing to appreciate the technologies of colour perception.
Reviews of the Fifth Edition:
"The book is beautifully written and superbly presented. It is a credit to both author and publisher, and deserves to be on the shelves of anyone who has any concern with the reproduction of colour."
From The Journal of Photographic Science, Vol. 43 1995
"Using his ability as a teacher, Dr Hunt has made potentially very difficult topics quite readable…he brings the insight that leads the reader to a greater depth of understanding."
From Color Research and Application, Vol. 23 1998
The Society for Imaging Science and Technology is an international society that aims to advance the science and practices of image assessment. A major objective of the Wiley-IS&T series will be to explain the latest scientific and technological developments in the field of imaging at a professional level. The broad scope of the series will focus on imaging in all its aspects, with particular emphasis on digital printing, electronic imaging, photofinishing, image preservation, image assessment, image archiving, pre-press technologies and hybrid imaging systems.
Customer Reviews:
The best book on color photogaphy I have ever read.......2007-04-29
In my opinion, this is the best book on color photography that I have read. Of course, it covers other topics, but it devotes a substantial amount of text, graphs and formulas to that topic. In recent months, I have acquired a fair number of books on the subject of photography and color theory, some of them very formula-intensive and some descriptive and math-primitive; but this one stands head and shoulder above the rest in its effort to describe the fundamental principles.
I bought this book primarily because I wanted to learn whether it is possible, and if it is, how to predict the RGB density values of negative film versus the CYM density of the photo enlarging filter. I believe that I have found my answers in this book. Yet I was also quite pleasantly surprised to learn a lot more about color photography and reproduction. As I was reading this book, many things to which I had had unanswered questions from reading those other books have fallen in their logical place.
I would highly recommend this book for anyone interested in color photography and who wants to learn not only the practical aspects of it (i.e. the result and the practice) but also the "why" of it (i.e. its scientific and experimental fundamentals). You do, though, have to have some knowledge of linear algebra and chemistry, although I would not call this book math-intensive.
The definitive reference on the reproduction of color........1997-09-17
The author has an impressive array of initials after his name; he is, amongst other things, a Doctor of Science, a Member of the Imperial College, an Associate of the Royal College of Science, and a Fellow of the Royal Photographic Society as well as a Visiting Professor of Physiological Optics and of Colour Science, and a former Assistant Director of Research at Kodak. He has also been Chairman of the Colorimetry Committee of the International Commision on Illumination, and Chairman of the International Colour Association.
First published in 1957 and now in its much enhanced 5th edition, The Reproduction of Colour is the most comprehensive single resource available. Two quotes from the preface to the 5th edition describe what it is about:
"The object (is to present) the fundamental principles of colour reproduction, whether by photography, television, or printing in the hopes that all those engaged in producing, selling, buying, or using colour pictures will be able to see the nature of the problems they encounter. Those who want a general statement on colour reproduction will find it in the first part, and those who want a more detailed discussion of any one application in which they are particularly interested (will find it) in the later parts."
and
"The reproduction of colour involves physiology, psychology, physics, chemistry, and technology. presents complexities, (and) involves a wide variety of enterprises".
Even though there are individuals skilled in processing and printing their own color film, and DTP bureaux had taken over some of the work of traditional printing houses, color reproduction was, until not so long ago, the province of technicians in the photographic, printing, and television industries, Now we have crossed the threshold of a new era in which a massive technology transfer is taking place, putting effective control over color into the hands of a much wider range of users. Even home users now have available to them very powerful tools that enable production of images that are, to the ordinary eye, indistinguishable from quality photographic prints.
That brings with it a need to understand the technology of color reproduction, and the definitive text is Dr Hunt's book. I have rated it 10/10 because of the remarkably wide range of disciplines covered and its astounding technical depth.
Without it most of the information presented would have to be gleaned from numerous other books, professional journals, and published papers. Further, one does not have to have a scientific background to gain some understanding of what is involved in the reproduction of color. The fields covered television, photography, and printing are becoming less discrete with the application of digital technology; those who use computerized systems for the reproduction of color images will find relevant information spread throughout most parts of this book.
It is not a popular account, a color-for-cretins guide, or a how-to manual. This is a technical resource written in a style that makes it readable without diluting its professional integrity. Not all readers will need, or even want, to know the chemical structure of cyclic methylene magneta couplers, but may want information about the effects of signal processing on color reproduction. In what other recently published text would one find a comparison table of film speeds that includes the Weston system?
The Reproduction of Colour should be in any library with holdings on technical subjects; professionals in DTP, printing, photolabs, television, and digital imaging should have it; and anyone teaching or studying graphic arts, computer science, photography, printing, or subjects related to television technology should be aware of this edition. A check of some large libraries suggests that librarians may think earlier editions are good enough, but new developments demand this latest edition. Teachers of science in sub-tertiary institutions may well find this a useful text for its practical application of science to topical real-life problems.
The book is divided into parts: Fundamentals, Color Photography, Color Television, Color Printing, and Evaluating Color Appearance. Each chapter opens with an introduction that provides a succinct overview of the topic.
Reviewed by Major Keary [majkeary@netspace.net.au]
Book Description
The digital age of art has made it easier than ever for an artist to change what his work will look like when complete. Subtle changes in color composition can be made many times to achieve an ideal image. However, masterful color management is about more than knowing how to use the tools offered by your image editor. It's about understanding how to visualize your final image before you begin editing it - seeing your image as you want others to see it. Mastering Digital Color is designed to help you master the skills needed to realize your vision, using color management tools available in the digital world. It presents techniques of practicality and results. By focusing on the practical aspects of color management, this fullcolor book enables you to more clearly visualize the connections between concept and result, bringing the art that you have envisioned to life.
Customer Reviews:
Must have book for photographers!.......2007-01-15
This book was such a valuable tool for me in my everyday photgraphy work. It is clear, conscise and practical-and is really easy to follow. From capture to final print, this book will take you step by step to producing better image quality.
Customer Reviews:
Very Informative.......2007-06-27
I found this book very well written and informative. It covers a wide variety of toning techniques and covers archival processing thoroughly. I highly recommend this book for anyone who prints silver gelatin.
It really is the definitive guide!.......2006-11-10
This is a great book, it has it all. You want to know anything about a tone and this book has it. I'm actually a second year photography student and found that this book explains things without going way over the top and getting far too technical. Recommended buy for people of all photographic experience.
Definitely the Definitive Guide.......2006-06-17
Takes guts to include "The Definitve Guide" as the subtitle of a book. Question is, is it deserved? Answer a respounding YES! Am I surprised? Not when I see that the author is Tim Rudman. I own all of his books and hold them in the highest regard. This book is well printed, the paper stock is heavy and the glossy images allow you to see the subtle differences in his comparison images. This book is well structured, each chapter is broken up into manageable chunks that have a nice flow to them. This book has the right balance of theoretical and practical instruction. Most procedures include a step by step recipe. There is plenty of supporting information in the back of the book such as the Formulary, FAQs, Colour Search, DIY Toning, Weights and Measures etc... This book is suitable for both the Novice and Advanced photographic print maker and is the only book on toning that you are likely to ever need. All in all very complete and dare I say DEFINITIVE.
Superb technical reference.......2005-11-21
This book provides in depth detail into the toning process without getting too deep into the scientific chemical reactions. It covers many, many types of toning, provides many examples of results, and is very well written. The author covers techniques old and new and provides a number of different formulas in the formulary section at the end of the book for those who are interested in using non-commercially available toners. I found this book to be most useful in both understanding the process and in expanding my toning skills. I can honestly say that this is one of the most useful books on wet process printing that I have ever read.
If you want to know how to tone prints, this is the book!.......2005-07-05
Wow. I didn't know there were so many ways to tone a print. Mr. Rudman is some kind of psycho-wizard-freak that has managed to learn EVERYTHING there is to know about toning prints.
Really, all I wanted to do was get some tips on using Selenium toning, but this is the whole enchilada. There's toners I never knew even existed. And the part about toning part of the print one way, and using another toner elsewhere in the print, was just over the top. Great book!
Book Description
Getting color and print quality right is one of the biggest challenges for designers, especially when faced with quickly changing technologies, platforms, and processes. The complexities of color and print management have grown in the wake of these new technologies, and designers are often left without any guidance. This practical and comprehensive handbook provides designers with just that-guidance. This all-inclusive source covers everything from choosing color combinations to choosing the best paper and printing methods for your job. Graphic Designer-s Print and Color Handbook brings tips and discussions on these subjects to you through visuals and easy to understand text. No detail is left out, making this an essential text to have next to your work station everyday.
Customer Reviews:
REQUIRED COLLEGE TEXT.......2007-03-09
THIS TEXT WAS REQUIRED FOR OUR SON IN COLLEGE. HE HAS FOUND IT TO BE EXACTLY WHAT HE NEEDED FOR GRAPICS DESIGN COURSE IN UPSTATE NY COLLEGE. DELIVERY WAS TIMELY AS USUAL.
Book Description
Digital imagery and digital color are everywhere, yet operating a color-managed system has remained a mystery... until now! Fresh from pioneering work in color algorithms for FujiFilm, Dr. Abhay Sharma explains the basics of color science and color measurement, and provides an in-depth look at the range of measuring instruments available to the end-user. International Color Consortium (ICC) profiles are discussed in great detail and procedures for profiling scanners, digital cameras, computer monitors, inkjet printers, and printing presses are thoroughly described- making this book the definitive guide to color management.
Customer Reviews:
Understanding Color Management - way beyond the basics!!.......2007-08-13
What an excellent book! The author defifitely knows his stuff. This book delves deeply into the nuts and bolts of color management and it is definitely not for beginners (who should buy "Color Management for Dummies"). This book not only teaches the principals of color management, but explains why it is necessary. It is not tied to any specific software or hardware, although an occasional reference is made to Photoshop and reference is also made to the various hardware used to calibrate your equipment. It is very heavy on theory and if you are technically enough inclined, you will be well on the way to becoming expert in color management. This appears to be one of the definitive works of color management and it rightly deserves the great reviews it gets.
A clear exposé of the science and concepts of color management.......2005-12-09
Understanding Color Management explains the basics of color, and the methodology of ICC profiles which the ICC (International Color Consortium) has developed to allow colors to be reproduced with fidelity by computing devices.
All the basic procedures of calibrating screen and profiling devices are explained. However, this book is written by somebody who understands both physics and computers, and it goes further than any other basic text in showing how the pieces of ICC color management fit together, and what goes on behind the scenes. The word "Understanding" in the title is indeed appropriate.
If you are a photographer and you need a hands-on tutorial to ICC Color Management, then Andrew Rodney's howto book may be best for you. If you need a reference for daily use in prepress, then you should own a copy of Bruce Fraser's text. But if what you want is to really undersand the how and the why, then Abhay Sharma's clearly written and concise textbook is the one you want.
Understanding Color Management.......2003-10-23
The title "Understanding Color Management" is a very appropriate. The list of books and papers on colour management is getting quite long by now, but this is in my view the first one to be really thorough, clear and in depth.
Looking at mr Sharmas background you'll understand why. Abhay Sharma is an ex Crosfield man (todayday part of Fujifilm Electronics). The practical "hands on" experience with Fujifilm's colour management R&D team shines through in all chapters of the book.
The layout of the book is quite conventional, going from the fundamentals of colour theory to more in depth discussions. What is different is the clarity in each chapter, and the depth in wich mr Sharma explains the issues.
While getting and reading "Understanding Color Management" by Abhay Sharma is wholehartedly recommended by me, there are some few areas where I still wish for more clarification or help. One is on the matter of how to correctly calibrate and use the monitor. Abhay concludes, like many other, that using a whitepoint of 5000 K (D50) often results in a "dull image". Yes it does, using a faulty calibration tool like the Apple buildt in monitor color calibration, as well as trying some of the commercial software using measuring devices. The trick is to achieve correct luminance at 5000 K, typhically around 100 cd/m2, as recommended in the ISO 12646 standard (refered to in the book). Many software adjust the whitepoint in the last stage of the calibration process by reducing the power of the blue channel, resulting in a too low luminance (brightness) of the monitor. The ambient lighting condition also effect the appearence of the monitor. A too bright illuminated room prevent the monitor from accurately rendering the colours. Unfortunately the recommended very low ambient light of 32 lux is not mentioned by Sharma.
But all in all it's a very, very good book on a quite complex and "difficult" subject.
/Paul Lindstrom, Malmo University and Digital Dots
Average customer rating:
|
Digital Color Halftoning (SPIE Press Monograph Vol. PM68)
Henry R. Kang
Manufacturer: SPIE Publications
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Digital Halftoning
ASIN: 0819433187 |
Book Description
Part of the SPIE/IEEE Series on Imaging Science and Engineering. This comprehensive look at digital halftoning, a key technology in printing and display industries, is aimed at technical professionals and students. It is especially useful for those designing halftone screens and screenless processes for research and development. It also is suitable as a textbook in printing and graphic arts (graduate/undergraduate).
Customer Reviews:
The Gold-toned standard.......2000-10-10
Before this book came along, the must-have text was Ulicheny's Digital Halftoning (MIT Press). Everyone (who cares about halftoning or dithering) had it and used it, and in fact Kang references it extensively. The problem is that Ulichney's 1986 state-of-the-art had a huge number of gaps. Like color, multi-level (rather than bilevel) output options, and combining ordered and random dithering techniques.
Kang covers these areas and cites all the work since then. It's not as clearly organized (having 3 PhD thesis readers must have helped Ulichney). It also lacks any code samples (what? shipping product?), for which Graphics Gems, Vols. I-V are about the only options.
Still, if your work requires you to do any halftoning implementation or modification, you need this book. If you can only afford one, read Ulichney from the library and then buy Kang since he quotes the earlier work extensively.
Customer Reviews:
Good and Bad Advice on a Variety of Creative Techniques........2004-10-27
In "Creative Photo Printmaking", author Theresa Airey attempts to cover 9 different photo and printmaking techniques that are alternative or supplementary to conventional practices, and which will expand any photographer's means of creative expression. I have found that books that discuss a variety of photographic skills, instead of being an exhaustive study of just one, tend to be cursory, serving as an introduction to their subjects more than in-depth guides. That's fine as long as they are solid, accurate introductions. "Creative Photo Printmaking" isn't one of the better multi-skill books that I've read. Some chapters are reasonably good, while others are, frankly, bad. Organized lists of necessary supplies and equipment are generally absent.
"Manipulating Polaroids" (Chapter 1) is a decent introduction to Polaroid "Time Zero" (SX-70) film. Advice on manipulating the film is adequate, and there are instructions for modifying modern 600 Series Polaroid cameras to accept SX-70 film. There is an interesting section about sandwiching SX-70 prints by removing the emulsion. The recommendation to duplicate and enlarge your prints by copying them to slide is outdated. Now you would simply scan them. Oddly, there is advice about printing slides onto Time Zero film with a conventional enlarger, but not with a DayLab, which is more common practice.
"Infrared Photos" (Chapter 2) is about black-and-white infrared film, which is prized for its ability to record increased tonal separation in the midtones while decreasing tonal separation in light and dark tones, creating a "luminescence" in light skin tones. This is the worst chapter in the book, as it is filled with misinformation. Infrared film does not record heat. Red filters do not allow more IR to pass through them; they block out the rest of the spectrum. Surface veins can be eliminated by increasing exposure. IR negatives should not be dense and difficult to print. The author has drastically overexposed her negatives, something that I would expect of a novice. The book advocates doing a lot of exposure tests to achieve correct exposure. If they didn't help the author, I don't think they'll help you. Set the ISO on your camera to 100. Set the exposure to 1/125 at f/11 on a sunny day. Use any yellow, orange, or light red filter. Pay no attention to filter factors; infrared light passes through the filter. Bracket your exposures by one stop over and under that exposure. Be sure to load and unload film in total darkness. You'll do fine. Ignore everything in this chapter. It's disgraceful.
"Bleaching and Toning" (Chapter 3) introduces several toning techniques. Toning with selenium then bleaching down the skin areas on portraits until a flesh tone is achieved produces a beautiful result on the demonstration print. Another technique is copper split-toning that literally produces a metallic copper effect that is quite striking, but is not explained in detail. There is also brief discussion of color posterization, which produces unreal colors.
"Working with Liquid Emulsions" (Chapter 4) explains the use of both Silverprint and Liquid Light, coating emulsions that are applied to various surfaces in order to make them susceptible to photographic printing. The instructions for coating, developing, bleaching, and troubleshooting Silverprint are quite detailed. Liquid Light requires longer exposures, and its instructions are not as detailed.
"Image Transfers and Emulsion Lifts" (Chapter 5) are two popular Polaroid techniques. Image Transfers are made from peel-apart Polaroid films when the negative is peeled from the substrate and applied to another surface. Instructions are given for paper selection, printing a slide onto the film with a DayLab, Vivitar slide printer, or an enlarger, separating the negative, making the transfer, reducing (bleaching) the print, and troubleshooting. Emulsion lifts remove the gelatin emulsion from the paper backing of a Polaroid print and transfer the emulsion, which is semi-translucent, to another surface. Step-by-step instructions are provided, as well as advice on transferring emulsions to glass, silk, and wood.
"Polaroid Instant Slide Films" (Chapter 6) is dedicated to films that are no longer available, but were when this book was written. Two types of instant slide film, Polapan and Polachrome, are described and examples of photos with various filter combinations are given. Polaroid instant slide films were discontinued because the law enforcement and scientific uses of the film have been usurped by digital, and the fine arts community was not enough to make these films profitable. I admire the films a great deal. If you ever have the opportunity to use them, I recommend the Polachrome for manmade, especially industrial, subjects and the Polapan for architecture or portraits. The author has used them in rural scenes, which show the films off poorly. But the way, Polachrome came in two varieties. The high contrast version was intended to photograph graphics and is less suitable to fine art.
"Solarization" (Chapter 7) discusses the reversal effect (light becomes dark, dark becomes light) that can be achieved by re-exposing a print when it is partially developed. Papers and developers are recommended, and the procedure is described. The author also gives advice on how to copy a solarized negative or slide onto film, but the films she mentions are no longer available.
"Photo Transfers" (Chapter 8) are photocopies of photographs that are transferred to the artists' paper of your choice. This chapter takes you through choosing a suitable print, copying it on a color laser copier, selecting an artists' paper, and making the transfer.
"Handcoloring Photographs" (Chapter 9) provides very little instruction on handcoloring. The author prefers coloring with pencils, which is unusual. Most handcolorists use photo oils in conjunction with pencils for details. This chapter describes a variety of products, but not what to do with them. The author does a lot of handcoloring on artists' papers, not photographic papers, and she discusses methods of dealing with the challenges of applying oils to them. If you are in this situation, her advice might help you. But the instructions for preparing photographic prints for coloring are inadequate and confusing.
A Must Have for Creative and Advanced Photographers.......2002-09-06
Theresa Airey's Creative Photo Printmaking book is filled with her beautiful photographic art and detailed instructions on how to accomplish similar results.
Any photographer and dark room enthusiast/student will benefit from this book which provides more than adequate instructional information on processes such as: infrared, printing on artist papers, wood, or glass, polaroid images, handcoloring, bleaching & toning, and copystand work only to name a few. I particularly enjoyed the bleaching & toning over handcoloring for adding color to my black & whites and her example photographs for this process are inspirational.
We used this particular book in our creative photo class. My fellow classmates became very enthusiastic about their accomplishments, and attributed their successes, in class, to this book. Theresa Airey has an MFA in photography and fine arts and has put together a splendid book that will be an asset to any photographer's library.
Great instructions.......2001-09-26
The author has done a great job with this book. It is highly readable and useable. I was especially impressed when I saw that included was her workspace setup for doing photo transfers. I was having a problem setting up my workspace with the trays, the electrical things vs. the water things...and was amazed that she thought to include it.
Essential for learning to create speical effects.......2001-06-12
This is an essential book for any photographer who wants to learn to how to create stunning photographic artwork by manipulating photos. A wide variety of unusual and spectacular effects are presented. The beautiful examples have really inspired me.
First it covers manipulating, hand coloring, scanning and even recycling mistakes made with time-zero Polaroid film. Then black and white infrared photography using filters, metering and flash is covered along with film processing and printing. Bleaching and toning are next including great sections on copper split toning, posterization effects and creating pseudo flesh tones. Then emulsion transfers are shown including silverprint and liquid light. These create some great effects on non-traditional surfaces.
Image transfers and emulsion lifts follow. You are shown how to used a slide printer to make a print, make a projection print and transfer images onto non-paper surfaces like glass or silk, even getting two prints from one. Lastly, Polaroid instant slide films, solarization, photo transfers and hand coloring are discussed in detail.
All the instructions are excellent and thorough, covering everything from loading the camera to choosing and developing the film. There are a few demonstrations, lots of examples and great troubleshooting sections for each technique.
The appendixes in the back are very helpful. They include paper selection and characteristics, instructions on working with a copystand and a list of suppliers. This is a wonderful book to help the photographer with some darkroom experience move on to create awesome special effects photos.
Great techniques, great images and great instructions.......2000-12-03
This book gives comprehensive step by step instruction for so many different techniques I was amazed that only one photographer wrote it. She certainly knows her stuff! It was easy to understand and to work with. I learned so much from this book that I felt guilty only paying [as muchas I did] for it. Great book and great images. I love it. L.P.
Average customer rating:
- Best book available on this (forgotten) subject.
|
The Painted Photograph 1839-1914: Origins, Techniques, Aspirations
Heinz K. Henisch , and
Bridget Ann Henisch
Manufacturer: Pennsylvania State University Press
ProductGroup: Book
Binding: Hardcover
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ASIN: 0271015071 |
Book Description
A lavishly illustrated history of the overpainted photograph.
"This volume contributes a tremendous amount of knowledge to the history of the altered photograph."—Choice
"There is simply nothing else in the literature like The Painted Photograph. The authors, Heinz and Bridget Henisch, are, indisputably, two of the greatest and most admired of living photohistorians."—John Wood, author of The Art of the Autochrome: The Birth of Color Photography
As photography grew more popular following its invention in 1839, its admirers did not understand how a medium that rendered shapes and textures in exquisite detail could fail to render them in realistic color. Also disappointing was the tendency of the captured images to fade over time. Photographers, ever eager to please their public, began "painting" their photographs with substances ranging from water colors and oil to chalk and crayon. Images were enlarged, enhanced, and framed, to simulate the splendors of the traditional portrait.
With its rich variety of illustrations in color and duotone, The Painted Photograph is the first comprehensive history of overpainting, from its origins to World War I. The 131 illustrations featured draw upon original nineteenth- and early twentieth-century sources, most from America and Britain, but also representing Japan, Turkey, Austria, Germany, Poland, Canada, Bohemia, India, Australia, Norway, Holland, and Russia.
In describing a multitude of early techniques, the authors survey overpainting on various types of photographs, including daguerreotypes, tintypes, and imprinted porcelain, milk glass, enamel, magic lantern slides, and textiles. Particularly fascinating are discussions of overpainted death portraits, most commonly those of children, and the origins of popular "picture postcards" featuring overpainted landscape scenes. The Henisches address also the eager acceptance of the painted photograph throughout the world, despite the hostility of the art-critical establishment.
The Painted Photograph will appeal to a wide public interested in photography, history, sociology, social anthropology, folk art, popular fashion, and antiques.
Customer Reviews:
Best book available on this (forgotten) subject........2002-01-26
Very little information about the practice of painting (as opposed to tinting; there is a difference) photography has been available. This book covers incredible ground, pulling together material from advertisements, photography texts, archives and collections in order to present an overview of the climate, practice, and production of painted photography. Most other material extant focuses on individual artists who happened to overpaint their photographs, or of particular artworks which are photographs that have been painted on. Henisch shows the existence of a trend in early photography which seems to have been relegated to the sidelines as an analomy or as an isolated practice.
This is an incredible work, well - written, and evocative of Henisch's broad scope of scholarship.
Book Description
Stamp in Color
Techniques for Enhancing Your Artwork
By Dave Brethauer
Make Your Own Watercolor Magic
Now creating the romantic, dreamlike look of watercolor is literally at your fingertips! These easy-to-learn techniques show you how to blend and balance a perfect palette of colors, to give your paper projects an air of sophistication and elegance. Achieve a smooth wash of color across a sky or a flawless blend of hues on a leaf with these simple, effective methods.
· Learn how to embellish stamped images with paints and colored pencils for a glorious, watercolor-style look
· Find 30 step-by-step projects for special occasions throughout the year, such as holidays, birthdays, weddings, and showers, as well as fun projects for everyday
· Choose from a range of exquisite designs for invitations, greeting cards, gift tags, and announcements
Make the most of your rubber-stamp projects with these savvy color tricks!
Customer Reviews:
great how-to on using watercolors and pencils.......2007-06-28
The author is an artist who works/worked for Impress rubber stamps and his book shows in great detail how to amp up the possibilities of your rubber-stamped artwork. You learn how to layer color, do a color wash, and to generally add dimensional color to rubber stamped and embossed art. There is such thorough coverage of every step and product used that you get the feeling that you could produce identical, beautiful results, too.
I'm especially pleased with this book because I couldn't find beginner-to-intermediate watercoloring instructions for rubberstamping anywhere else; all of the other books assumed I wanted to paint a Monet on a 3-foot square canvas instead of a stamped 4x6 card.
Watercolors and Stamps!.......2003-09-07
Great examples of making invitations & cards. In addition to the watercolor tips (don't expect a class in watercolors its more of an intro to the idea of using watercolors with stamps) there are also ideas on using your computer to print up words for the invitations etc. Colored pencils are also discussed in the book as well as blending techniques.
A Wonderful Intro To Watercolors & Stamps!.......2002-08-01
I have been stamping for awhile and wanted to get into watercolor. I am so glad I found this book! After reading the book (the step by step instructions were easy to follow), I got results that were truly amazing. I did not know how to properly use watercolors until this book! Also, many of the stamps I had on hand were easily substituted for those used in the book. It was a great purchase!!!!
The title is misleading.......2002-07-02
I was looking for a book that showed how to add color to stamping and this only pretty much covers watercoloring stamp outlines. I would have preferred to have known that is all it was about. I think in that aspect it does a good job. It is a very narrowly focused book that I paid too much for.
Excellent book!.......2002-05-16
This book was everything that I'd hoped for! Lots of good instruction on using watercolors, etc. I also like that all of the stamps used in the book are available at one company... which makes it much easier to hunt down. :) Very good book, clear instructions.
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- Wedding Photography, 2nd Edition: Art, Business & Style (A Lark Photography Book)
- Wildflowers: Designs for Applique & Quilting
- Women Who Run with the Wolves
- Year of the Tiger (National Geographic)
Books Index
Books Home
Recommended Books
- Towns of the Sandia Mountains
- The Blue Day Book
- La autopista del sur y otros cuentos
- Mayflies
- School Is Hell
- Sudden Origins: Fossils, Genes, and the Emergence of Species
- Prescription for Nutritional Healing, 4th Edition: A Practical A-to-Z Reference to Drug-Free Remedie
- The Incredible Coral Reef: Another Active-Learning Book for Kids
- Memoirs of celebrated female sovereigns
- A Soldier's Dying Heart
Color Appearance Models (The Wiley-IS&T Series in Imaging Science and Technology)
Color Science: Concepts and Methods, Quantitative Data and Formulae (Wiley Series in Pure and Applied Optics)
Billmeyer and Saltzman's Principles of Color Technology, 3rd Edition
Introduction to Color Imaging Science
Real World Color Management, Second Edition
