Product Description
Margaret and Kenn Whitmyer's books on Fenton art glass have become standards in the field. Now they have compiled a third volume for their series, Fenton Art Glass Colors and Hand-Decorated Patterns, 1939 - 1980. While the book covers the same time period as their second volume, Fenton Art Glass Patterns, this volume features items not covered in their previous volumes, with chapters on carnival glass, milk glass, hand-decorated items, over-lay colors, opalescent glassware, opaque items, transparent glassware, and miscellaneous pieces. Presented in the same easy-to-use format as their other volumes, Fenton Art Glass Colors and Hand-Decorated Patterns is sure to please collectors. The detailed table of contents makes it easy to locate categories and specific items. A brief history on the Fenton company is provided, followed by more than 150 large, sharp color photographs and catalog pages with item numbers, colors, and current market values. Enjoy this latest volume by Fenton experts Margaret and Kenn Whitmyer. 2005 values. ... Read more

Customer Reviews (3)

Good Book for Collectors
This book is a great buy for anyone interesting in blown glass or the Fenton company. Or, it is even just fun to look at if you enjoy art and appreciate the skills of blown glass makers.

Perfect
I am well pleased. I received the book well within the time line.Thank you

A Worthwhile Book to Own
This is a very informative book with a detailed picture guide. Each type of glass design is expained and color pictures help in the identifcation of the glass.A price guide is also included. An excellent tool for identifying Fenton Art Glass. This book is worth the price. ... Read more

Product Description
An introduction to the science of light and color and its applications to photography, art, natural phenomena, and other related areas. Explains the origin of phenomena commonly encountered in nature and art, emphasizing the physical aspects but also touching on aspects of physiology and psychology that directly influence how visual images are perceived. Covers the effect of mixing color, the notion of color spaces, how atoms and molecules affect light, how light can be measured, the effect of using a lens, and many other topics. Requires little or no mathematical background. Includes questions and references for further reading. ... Read more

Customer Reviews (2)

great stuff
One of the most informative books i have read.Note that this book was used for a college course at NYU in the early 80s...Full of optical principles some of which go slightly above the average artists head.Only read this if you remember your physics classes from high school quite well and can stand tons of text book reading.It took me months to read and digest all of this information.I had to re-read sections several times.

A primer on the science behind art
First and foremost a science textbook, Light and Color in Nature and Art covers the mathmatics and chemistry behind different lighting phenomena and how they are captured on film or canvas versus seen by the human eye.

While artists may be tempted to pick up the book for a deeperunderstanding of color theory or the science of film emulsion, the book ishighly technical and does not really lend itself toward artisticdevelopment. Definitely not a necessary addition to the artists' bookshelf,but a worthy textbook for those interested in physics. ... Read more

Product Description
Bestselling author Anthony Haden-Guest covers the past three decades of the American art scene. Filled with incredible anecdotes, dramatically told stories, and subtle critical assessments, "True Colors" tells the story of the art world that we have never heard before. "Sexier than "Artforum", brainier that "Vanity Fair"".--"Kirkus Reviews". of color photos.Amazon.com Review
This sometimes hilarious, sometimes scathing book is the mosthonest account to be found of the fashionable, fabulous, and oftenugly New York art world of the last quarter century. This was thefirst time in history when visual artists came fully under the glareof the media and evolved into pop cultural figures. Here are Andy,Jean-Michel, Leo, and Julian as only art and cultural critic AnthonyHaden-Guest can present them. Revealing anecdotes (and gossip) offer asense of how the art world really works, its politics, its scene, andhow artists survive in it or not. Wry, witty, and insightful,Hayden-Guest provides an absorbing narrative on how the art world gotthe way it is and where it is likely to go from here. This fresh lookinto art and artists is quite a thing apart from studying at themuseum or library; True Colors makes you feel genuinely presentat the most chi-chi art opening or cocktail party in town. ... Read more

Customer Reviews (8)

An art movement that makes you wonder
What it's about -- The world of contemporary art in New York, NY,
including the artists, their work, the dealers, the galleries, and
a bit about who is buying it.

The (sub-)movements in the contemporary art movement are mentioned,
and you will learn something about a few of them.But, for a more
complete picture, visit the "Contemporary Art" page at Wikipedia
([...]) and look for the
table of sub-movements.

Some of the characters and the "works of art" that they've produced
are outlandish.I put "works of art" in quotes, because you will
need a very loose definition of "works of art" if you want to cover
some of these objects.In fact, you might need something as broad
and inclusive as "whatever is produced by someone who calls
him/herself an artist and calls what they've done 'art'".Or, an
alternative definition that might be broad enough to include the
works discussed could be "it's art if it's sold in an art gallery
and has a frame around it (or is marked off in some other way)".
And, if fact, some of the "works" are not objects at all; they
were, for example, performances.Others were objects, but were
intentionally designed to be un-sale-able, perhaps by being
impermanent.

For most of the works discussed the idea is much more significant
than the handiwork and craftsmanship required to produce it.

But, then, for me, that is part of the value of this book: it
encourages me to think about what qualifies as art and about what
is valuable in art.With respect to the contemporary art discussed
by Haden-Guest, the qualities that make this art valuable genuinely
are questionable.It certainly isn't beauty.And, it's seldom
that it is socially meaningful, or meaningful in any reasonable
way.In fact, from this book you'd conclude that the primary value
of the art in the contemporary art world is it's value in terms of
money at an auction, its exchange value in a gallery, or even it's
use as a holder of value among those in the art theft underworld.
There is more than monetary value, but, I'm a bit mystified what it
is.

Some other topics from the book:

* The art market -- Booms and busts; attempts to inflate market
value, for example, by creating and running an art market index
(mimicking a stock market index) and through a point system to
assign value to individual artists.

* Artists and self-promotion -- Dealers and their attempts to promote
artists and their works.

* Lots of gossip about which artists are with which dealers or
might which to which other dealers -- Perhaps more interesting
that the details of the gossip itself is Haden-Guest's discussion
of how gossip works in and moves the art world.

* Who's hot and who's not -- Plus a short biography of several
artists.

What you will *not* find: anything at all in the way of an
indication that there was an attempt at careful craftsmanship in
the contemporary art movement.This was an art movement that seems
to be about originality, newness, being different, and being
outrageous enough to attract attention.

And, if you are interested in something in the way of a historical
record of the contemporary art world in New York in the last part
of the 20th century, this book is a good way to get it.

By the way, I had an experience with art this last weekend which
was very different from what you'd have with the art discussed in
this book.I visited the Asian Art Museum in San Francisco, CA,
USA, which I recommend very strongly, by the way.The contrast
between the contemporary art that Haden-Guest describes and many of
the forms of art in the Asian Art Museum was extreme; there are so
many objects in that museum that were created and crafted with
extreme attention to skill and detail and beauty.Furthermore,
since so many pieces were old, there was a good deal of pottery.
And, that meant that there were many utilitarian pieces that had
been crafted for both usefulness and beauty.It was quite
different from the "newness is everything", in your face styles
described by Haden-Guest.

page-turner
This is a book to inhale and savor, evocative of the 70s-80s-90s Art World Times, full of insight and things-around-the-corner. Gives good background understanding to the subsequent Wasteland in the art scene, and more recent developments.

This book makes dolphin operas? a secret review

Although certainly with the pages are these words, these purpose built spores, like
feilds or kansas. And although again, like a cousin. I read this book and yet somewhere there were people outside the cover, some other story. Perhaps is pehaps is a juice box, what is needed here are vitamins. Such bitter health.

Read about art maybe?

for more secret reviews visit secrettechnology (add the normal web page bit to the end of that).

True Colors:The Real Life of the Art World
This book really has provided me the insight into collecting that I had always wanted to see. It was a fantastic,important and redefining period for art and collecting. Tremendously well done.

Entertaining (but dated) Nonsense
Trashy & obsequious. A gossipy journal of obliquely connected anecdotes about characters from the 80s and 90s art world, most of whom have lost most of their importance, and some of whom are even dead now. Begins with a section on the 70s minimalists and conceptualists, etc., by way of introduction. . . Not lacking in intelligence, but not employing much of it either. Haden-Guest places himself more strategically in the narrative than he most likely was in reality, but what journalist doesen't? Don't expect anything memorable or important (except perhaps the section on Donald Judd's various amusing feuds with native Texans and his rich European benefactors). I suppose it makes for good beach reading for those with a taste for the lurid. Be advised that it's also hopelessly dated (not documenting anything after the mid-nineties), which puts it in a strange position: it offers little information of historical significance, yet in the terms of the world it documents is now filled with ancient history! In short, an ephemeral amusement. ... Read more

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Readers with an interest in science, art, and the crossroads where they meet will relish Ball's erudite travels across the spectrum of light. --Gregory McNamee ... Read more

Customer Reviews (14)

Interesting history, simplistic art appreciation
That the materials affect the art seems to be the theme that tries to tie together the disparate parts of this rambling volume.

We sometimes assume that at least since the middle ages artists have been able to paint in an almost infinite number of colors, and that at least until modern times they always tried to use colors that reproduced reality as closely as possible. As Ball explains, neither assumption is true. Even as recently as 100 years or so ago, artists' palettes were constrained by the inability to produce reliable pigment of any desired color. Medieval painters had relatively few paints and tended -- as modern artists at times also have -- to select colors based on their cost.Only the development of artificial dies and pigments, primarily in the nineteenth century, has freed artists to create almost any color they wish -- and has helped turn the focus of art from form to color. The book illustrates these points with a number of well-reproduced color plates.

Ball also includes chapters on the techniques of printing, photography, and art conservation. While these are interesting, they wander from the major subject of the book and the discussion of photography, especially, is somewhat technical and tedious.

But this is not overall a technical treatise. Ball's real interest is art and his book is at heart an art appreciation course. This is both its strength and its weakness. That it tells the history of pigments in the context of the history of art and of artists is what makes it of interest to someone other than an industrial chemist. Unfortunately, from the time he reaches the Impressionists Ball talks more and more about art, less and less about pigments, until the book becomes almost pure art appreciation. We get extended discussions of the Impressionists and the Fauvists and the this-ists and that-ists, lists of many paintings very few of which are available in the color plates, but only passing mention of pigments and materials. Judged on an art basis alone this is not a particularly good book. Its art appreciation is of the gushing, exhibition-catalog sort; you know things are going downhill when you read a sentence like "Impressionism was a movement motivated by the ineluctability of artistic integrity and by the artist's need to search rather than slavishly to follow." (In fairness, Ball's prose is generally pretty good, which makes the occasional klunker like that stand out.)

The story of art materials is an interesting one, though, and is well told for much of the book. "Bright Earth" deserves three-and-a-half stars but since I have to choose it seems closer to four than to three.

Bright Earth
Bright Earth is about the long history of paint, not as much as art and painting but of paint itself, and the amazing history people have with visual art.

Focusing on the machanics of paint, where the pigments came from, possible ways people discovered paint, and how different pigments interact with their binders, this is a very intersting and informative book on the technical aspects of visual art, but the book is more.

It deals also with the historic aspect of color and how cultural precepts influence our perception of color and color theory. How our cultural baggage influences how we see color and our reactions to it.

Ultramarine, vermilion... Extravagant display of details
The book contains very detailed descriptions and "recipes" of how pigments were obtained in alchemists or craftsmen laboratories, quoting the original "magic" texts, craftsmen manuals or art treatises of the time, instead of using chemical formulas, but Ball briefly explains the minerals or chemical compounds and the chemical reactions that took place in the "cauldrons" to produce certain hues. I liked the explanation that before the Renaissence, the artists produced their own pigments and often their mastery and unique style resided precisely in the quality of the pigments each of them could produce. Arts and crafts were still a single term, the same as science and crafts.

It is not easy to classify this book, I would not say it is a science book, what the title "the invention of color" would suggest; nor an art history, since it focuses only on hues, never mentioning style, composition, technique, etc. It is more a history of dyes and pigments and how they were used by artists of different ages.

It explains how the availability of different pigments and the cost of obtaining them, shaped the artists' palette and how the artists of different periods chose among the available pigments to create and shape their own color style. Avant garde painters took advantage of the discovery of new pigments in order to create new styles and art movements, that gradually became mainstream. Sometimes this resulted in reduced durability and stability - some great works of art are lost to us due to the use of "untested" pigments. More traditional artists preferred to restrict their palettes but used only pigmens of proven quality.

Chapter 2: "Plucking the rainbow. The physics and chemistry of color" is brilliant, clear and comprehensible, as are all approaches to science topics by Mr. Ball.

Ball uses the original names of the pigments or colours throughout the book, like "vermilion", "ultramarine", "azurite", "indigo", "orpiment", to name a few. Since they were used to name a color, a substance or both, sometimes the same substance gave origin to two different colours or similar colors could arise from different substances,thus creating a lot of confusion. At times, this read like a soup of ingredients to me. Although this does not affect the general readability of the book, I find it difficult to remember all these words. If it should serve as a reference, an Appendix, listing the dyes, minerals or substances from which it was obtained, their formula, the period or artist that used it most, etc. or even a "coloured" timeline would be more useful.

Would this book have been written by somebody different than Phillip Ball, it would most probably be very boring. Mr. Ball definitely knows how to write, since the book is quite easy to read, despite the extravagant display of factual details.

History of paint and pigments
Colour is easy to take as grant. However, the great painters of the history worked often with a very limited palettes, as good pigments simply weren't invented. The best blues and reds were very valuable, which defined the ways they were used in medieval painting. There's plenty of detail in the history of art that can be explained by the economics and chemistry of paint.

Philip Ball is a chemist and painters will learn a lot of chemistry from this book. Chemists will learn about art and painting and curious reader will learn both. The book is clearly written, entertaining and educational: an excellent example of good popular science. There are plenty of interesting details, as Ball goes through the history of art and pigments from the stone age cave paintings to modern art. (Review based on the Finnish translation.)

A bright subject
Bright Earth gives a detailed history of the development of colour as used in art (painting primarily).It is well written and easy to read but perhaps tends a little towards being a pedantic.Nevertheless it is very helpful in understanding colour and its use in art through the ages.
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Product Description
11 lessons help quilters break out of the block and create quilts with a whole new level of artistic freedom. ... Read more

Customer Reviews (16)

Inspiring beyond belief
I purchased this book at a quilt show last year, just after its publication. I find myself going back to it time and time again, for inspiration and techniques. The photography is beautiful and Jean's explanations of color theory and use along with designing from sketches is so easy to understand and put into process. This book completely changed how I design my quilts. I feel my work is freer and more original thanks to Jean Wells. I hope to one day be able to take a class or workshop with her, in the meantime, I have this book to guide me. And I would love it if she wrote a follow-up!

From the Soul
I am totally delighted by this book. I have read countless books on art quilting and Jean Wells undoubtedly reaches into the soul of the artist/quilter. My background includes an MFA and a lifetime of art, so my eye may be a bit jaded when evaluating art books, but you will find this book informative and heartfelt. Not only is it succinct, but written with encouragement for the novice or anyone searching for an introduction into the world of art quilting. I would encourage adding this book to your library if for no other reason than a straight forward review of design principles. Whether quilter, fine artist, or craftsperson, this is a go to book.

wonderful inspiration
I received a digital copy of this book to review, but as soon as I opened the file I knew I had to have my own "real" book to study. And I wanted to drop everything else and just play with Jean Wells' techniques.The photos and design illustrations are wonderful -- you can really get a sense of her process of transforming natural inspirations into quilts. The book includes a lot of information about different aspects of color theory, and some innovative construction and finishing methods. Best of all, the writing style is friendly and helpful, without the tone of superiority that's sometimes found in art & design books.I highly recommend this book for your shelf or nightstand!

Unbelievable!Thank you Jean!
Wow, I just discovered this book and wanted to give it a five star rating to let other people know this is an excellent reference book on improv quilting techniques.This is the first quilting book I've seen where almost all the reviews were 5 stars!Jean is an amazing artist who is willing to share, how lucky we are!I need to make more of my purchases at the Stitchin Post to support this wonderful artist!

great resource
I've had this book for almost a year and find myself going back to it time after time to jumpstart my creative juices.It's a good addition to the library of any quilter interested in art or freeform quilting. ... Read more

Product Description
Is color just a physiological reaction, a sensation resulting from different wave lengths of light on receptors in our eyes? Does color have an effect on our feelings? The phenomenon of color is examined in extraordinary new ways in John Gage's latest book. His pioneering study is informed by the conviction that color is a contingent, historical occurrence whose meaning, like language, lies in the particular contexts in which it is experienced and interpreted.
Gage covers topics as diverse as the optical mixing techniques implicit in mosaic; medieval color-symbolism; the equipment of the manuscript illuminator's workshop, the color languages and color practices of Latin America at the time of the Spanish Conquest; the earliest history of the prism; and the color ideas of Goethe and Runge, Blake and Turner, Seurat and Matisse.
From the perspective of the history of science, Gage considers the bearing of Newton's optical discoveries on painting, the chemist Chevreul's contact with painters and the growing interest of experimental psychologists in the topic of color in the late nineteenth century, particularly in relation to synaesthesia. He includes an invaluable overview of the twentieth-century literature that bears on the historical interpretation of color in art. Gage's explorations further extend the concepts he addressed in his prize-winning book, Color and Culture. ... Read more

Customer Reviews (3)

Very nice essays
Great book, interesting,but am I the right public? As my first book on colour it misses homogenity.The same with references, nice but I don't have access to those hunderd other books about colour.

Color and Meaning
Is color just a physiological reaction, a sensation resulting from different wave lengths of light on receptors in our eyes? Does color have an effect on our feelings? The phenomenon of color is examined in extraordinary new ways in John Gage's latest book. His pioneering study is informed by the conviction that color is a contingent, historical occurrence whose meaning, like language, lies in the particular contexts in which it is experienced and interpreted.

Gage covers topics as diverse as the optical mixing techniques implicit in mosaic; medieval color-symbolism; the equipment of the manuscript illuminator's workshop, the color languages and color practices of Latin America at the time of the Spanish Conquest; the earliest history of the prism; and the color ideas of Goethe and Runge, Blake and Turner, Seurat and Matisse.

From the perspective of the history of science, Gage considers the bearing of Newton's optical discoveries on painting, the chemist Chevreul's contact with painters and the growing interest of experimental psychologists in the topic of color in the late nineteenth century, particularly in relation to synaesthesia. He includes an invaluable overview of the twentieth-century literature that bears on the historical interpretation of color in art. Gage's explorations further extend the concepts he addressed in his prize-winning book, Color and Culture

Another fine book, but with important parts missing.
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 thatinteresting distinction between pluralist and unified color modes (page224) that I finally understand; and there are many other sound explanationsthat will delight the serious student of color. It is all the more bafflingthat Gage never reaches a discussion of such things as Land's color theoryin relation to Polaroid, and even more important, the workings of color inthe computer and its printer. If there ever was a codification millions ofcolors in relation to primaries it is in the design of these systems usedby all of us. Yet Color and Meaning reads as if the computer has not yetbeen invented. I yearned to get to those chapters, but they were not there.And I regret it. ... Read more

Product Description
Vincent van Gogh is one of the world's most famous artists. Throughout his life, he wrote to his younger brother, Theo, about his colorful, dynamic paintings. This book pairs the artist's paintings with his own words. Van Gogh's descriptions, arranged as a simple rhyme, introduce young readers to all the colors of the rainbow—and beyond. The descriptive words combine with spectacular reproductions of many of the artist's most beloved and important works to create a perfect art book for young and old alike. ... Read more

Customer Reviews (9)

Teaches toddlers colors through the use of Van Gogh's images
My grandson loves this book! Teaches colors while instilling in the child an appreciation for art. Great book for infants/toddlers.

educational books with wonderful illustrations
This book is extremely simple.On each page, it has photos of Van Gogh's work with the title, so it becomes educational for the parent as well.The colors are bold and vibrant to stimulate the mind's of young children.This book makes a wonderful and thoughtful gift.

Beginner's Van Gough
Several of my grandchildren have learned to love van Gough's art.This is a nice introduction and an easy reference.

Linking Literacy and the Arts
I have been an early childhood educator for over 36 years and am delighted that "Vincent's Colors" is available to my young students, ages 3-6.It is an exquisite introduction not only to the work of Vincent VanGogh but to the observation of color and art forms.In addition, the vocabulary associated with each picture links literacy to this introduction to art. Research clearly shows that the arts strengthen brain connections, particularly during the first five years of life. Every young child deserves this book in their early library!

Love This Book!
This is a beautiful book and a wonderful introduction to art for young children.In addition, children who are just learning to read can read the book themselves.My kindergarten aged grandson can read most of the book and loves to talk with an adult about the art.This book links meaningfully to the Baby Van GoghBaby Van Gogh video in the Baby Einstein series. ... Read more

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Product Description
A basic introduction to the thoery of colour mixing in oil or acrylic, which outlines colour theory and shows how to paint different subjects with the six basic colours plus white and grey. ... Read more

Customer Reviews (9)

Not Super Useful
I wouldn't call this a bad book, but as a self-taught painter, I didn't find that it added any value to my studies. It discusses basic colors, one color at a time. So one chapter will be on Burnt Sienna, which is great if you're painting an entire painting in Burnt Sienna. If the book were more unified, i.e. it went through all the colors individually, then showed you how they work in tandem to create a painting, it would be much more useful.

A response to "Worse than useless"
Those who sincerely believe that their WRONG is the true RIGHT will always be with us.

The truth is that there are two color models and both are correct. Because of computers, the RGB (for red, green and blue) is the best known. Combine all three and, surprise, you have WHITE; but with a painting, if you combine those pigments, "white" is nowhere to be found.

The three primary colors for painters are RYB (for red, yellow and blue); plus black representing the absence of light and white tracing back to the source of light, the sun. True white is the combination of all colors.

The reason for the difference is that the RGB works for transmitted light (as with TV), not "reflected" light (RYB) that we see in a painting. Helen Van Wyk was a master with a world reputation. During her short life, she probably taught more people about painting through her TV lessons than anyone since. If she did not understand painting and color, we are all doomed.

Experienced painters understand that you paint with light. That means the light reflected from all surfaces results in what we actually see, whether it is in real life or in a painting. That reflected light is a combination of the quality of the transmitted light (determined by hue, intensity and value - but for engineers light is in degrees Kelvin) in combination with the hue and texture of the surface (smooth, shiny, rough, etc.) The better we understand that, the better we paint. Personally, I doubt this critical reviewer has a clue about any of that.

Color Mixing
This book is an excellent book.I have just started art lessons and need a little help in knowing how to mix colors.
Helen Van Wyk books have all been excellent book.Easy to understand with great information and instructions.

Color Mixing the V.W.W.
This is a great book specially for beginner. Excellent reference book. I'll certainly read it several times.

Worse than useless
All the theory in this book is dead wrong.There is little by way of practical advice.The book is mainly a collection of amateurish paintings by Ms. Van Wyk that are supposed to illustrate how to use various tubed colors.You should aspire to paint much better than Van Wyk ever did.

To date, there appears to be no good book on mixing color.Instead, see www.handprint.com.It's about watercolor, but the color theory and mixing sections apply equally to oil paint.Also give a look to www.wetcanvas.com ... Read more

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Customer Reviews (33)

A must-have book
If you are thinking to seriously go to the fascinating road of the fine-art printing, this is a "must have" book

Gold Mine.
This is one book that you must have in your library if you are a photographer or simply an ambitious to-be art-dealer or even if you try to manage your own simple printer at home. At least, I can say you must have it if you are a beginner in the field. I'm not a professional in the field of fine art, so I won't say you really need it if you are so! I don't think so at all!

The book elaborated many aspects and even introduced new aspects for me. I didn't understand the importance of monitor calibration for example, until the moment I read about it here. The book also mentions some tools and software that you might need and make a discussion about some of them and how to use them, but of course you don't have to take it all as some of these tools are really expensive, but it is good to have an idea. If you are serious and ambitious about printing your own work, then yes, you might considering buying some of these stuff! I can say now that from reading this book, I've discovered that many print shops here do not really follow the systematic and accurate way for their prints, and that's why I had problems with them before.

The book discusses many scientific and technical aspects about the making of inks, papers and even printers themselves and the different types of techniques in printing and I can say almost that it discusses sufficiently the concept of printing from A to Z. Notice, however, because of the great depth of the matter here which really needs a personal experience in lot of places and discussions, Uwe and Jürgen discuss their own trials and errors and experience in regard of some types of inks or techniques or papers.

It has also advices on how to preserve your prints, how to frame and mat them, and how to take care of your inks and printers. There are as well some discussions involving using a software like Photoshop for example, in order to enhance your image and deal with the contrast in regard of your printer's own capabilities. Personally, I find it useful if the person has already a background on some tools like this prior to reading although the text is really simple and dedicated to beginners. At some points, there are some comparisons in between various versions of Photoshop (for their dialog boxes or some available options), however, the highest version of Photoshop in the highlight here is CS3. It's not a bad point or anything. Take the extract and you can deal with various programs other than Photoshop anyway.

In the last chapters, there is a personal discussion about printers and papers used by the authors, and some comments and discussions about them as well. At the end there is a glossary for many relevant terms and an index that can help you sweep through the book quickly in case you need a tip about something. I find this is essential for books like this. Because of the tremendous amount of information that you can learn here, personally, I don't think I can memorize the many facts mentioned here and hence, this book will not stay cold in the future. I will keep it at hand for any help I would need with my printer and photos.

more in-depth than the average book
Read this one when you have time to devote to it. It will give the reader a lot of review on technique that will improve your end results greatly.

Very good book
I found this book to be informative and well written. I was able to improve my printing skills and that is why I purchased the book.

Very Disappointing
I was hoping for something that would provide in-depth insights into high quality print making, the use of profiles, etc., but did not find anything here that isn't covered better elsewhere.The title suggests that this book is about high quality printing using ink jet printers, but itdevote several pages to the history and features of other print technologies.A major section of the book also discusses the latest technology from the major printer manufacturers, but this is transitory information that tends to lose relevance very quickly - information that I would look for online or in a magazine, not in an expensive book.It reads like a high school term paper where the author tries to display his knowledge of everything.The book simply lacks focus, and I would not recommend it. ... Read more

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Customer Reviews (1)

Excellent color choice book
Interesting and helpful color experiments to find one's personal color choices. A good addition to any creative person's library!
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A useful simplification and condensation of Johannes ltten's major work. The Art of Color, this book covers subjective feeling and objective color principles in detail. It presents the key to understanding color in ltten's color circle and color contrasts. ... Read more

Customer Reviews (15)

Technical book written by someone who does not know how to write a technical book.
It is too bad that this is practically the only one of the kind.The aim is great, the contents are great, but the author does not know how to write a technical book.The author refers to concepts and terms that are yet to be defined or never defined at all.For example, at the very beginning, the author talks about "violet" and "purple".Am I the only one who did not know "violet" means a color of a single frequency, whereas "purple" is a color of combined frequencies?This is a No-No for mathematicians and scientists.For those of who are already familiar with Color Theory, the book must be a great assurance, articulation or enhancement of their existing knowledge, but for those who are new and try to learn as an artist, this is a nightmare.I am the latter kind.The only reason I could finish it was because I am familiar with fundamental physics and optics already.

The Elements of Colour - every artists colour bible
This book is excellent. Very informative for artists to conquer colour.The service was also fantastic - very very fast.Thank you.

Awesome Introduction.
If you know nothing about color theory, this is a beautiful introduction to it. I was very interested in illusions and the physiological effects of color, this book taught me what I needed to know. After this book I went on to another book that taught me more specifics but this is a wonderful addition to any artist's or scientist's book collection.

ITTEN The Elements of Colour
This is a fabulous book, making an intellectually rich subject palatable for the more right-brained of us!
Needs to be read in conjuncion with The Art of Colour. I wish I had realised that when I ordered it.
However this study provides a reliable and essential foundation for the serious student of colour.

essential color theory reference
as Tellez noted previously, this isn't an easy read. fortunately, the reward is worth the effort. Itten does not dumb down his perspectives for the sake of the reader, rather he puts it all on paper for the devoted color theorist to decipher.
that said, it is for the most part approachable and relatively short reading. I re-read this book every couple of years to keep my busy mind fresh and focused when working with this most essential component of my work. ... Read more

Product Description
Lindly Haunani and Maggie Maggio are renowned for their courses and workshops on color as well as for their outstanding polymer clay work. In this book, they offer instruction and inspiration that focuses on polymer clay as a learning tool that readers can use to explore their own color instincts and preferences and develop their own palettes.

Each chapter investigates a specific color principle, with the discussion supported by a related exercise, a “studio tool” assignment or demonstration, a polymer clay jewelry project, and a profile of a prominent polymer clay artist. Sample topics include:

•The Complexity of Color
•Three Properties of Color
•Choosing Your Palette
•Mixing Colors That Flow
•Matching Colors with Precision
•Games Colors Play
•Orchestrating Color Combinations
•Color Composition: Placement and Proportion
•Playful Patterns
•Tantalizing Textures ... Read more

Customer Reviews (26)

Beautiful and useful
I wasn't sure about getting this book because I have others which cover color mixing recipes. However, I am glad I did because it will help me to make decisions about color choices. Don't be put off by reviewers who say this is not for beginners or that it's a college level text. If you are absolutely new to using polymer clay, you will need a different book or two to help you learn the basics. This one can be added to your collection to help you understand basic color theory, and what will make or break your design, whether jewelry or sculpture. Color theory is explained in simple terms and there are plenty of pictures which will help. And there is nothing like the exercises to really help you "get it" from hands on doing.The book includes color mixing as well as techniques like Skinner Blends and millefiore. This is a valuable addition to the polymer clay artist's library.

not for the beginner!
This is a Fabulous book although I do not recommend it for the beginner student of polymer clay! Not unless you are prepared to do some serious color work at a college level. It has great lessons, samples, gallery photos, and everything needed to really intensify and advance you in the area of color work. I learned a lot more than I did when I took a color course in college!!

Lots of color info but not too many projects...
This book DOES have good info on mixing colors, hues and tints,values, etc.So if you're very anal about precise colors you'll love it.My problem with the book is that all the beautiful things on the cover are just pictures of other people's work!I was fooled into thinking that these items would be projects that you can make.They are NOT!So don't be fooled.The projects in the book that they do show are DUMB!!I feel like sending this book back!My first book was titled' Clay techniques with a pasta machine 'had more and better techniques in it....even mokume-gane.Hope this review was helpful.

Polymer Clay Color Inspiration
It's a good book - however, I thought it would have more color mix "recipes" - If you are just starting in polymer clay and looking for recipes to unique colors this is not the book.

Excellent!
A beautiful book, on time! I've enjoyed reading an starting to create my jewels. Thank you very much! ... Read more

Product Description

Product Description

In big cities, major museums and elite galleries tend to dominate our idea of the art world. But beyond the cultural core ruled by these moneyed institutions and their patrons are vibrant, local communities of artists and art lovers operating beneath the high-culture radar. Producing Local Color is a guided tour of three such alternative worlds that thrive in the Chicago neighborhoods of Bronzeville, Pilsen, and Rogers Park.

These three neighborhoods are, respectively, historically African American, predominantly Mexican American, and proudly ethnically mixed. Drawing on her ethnographic research in each place, Diane Grams presents and analyzes the different kinds of networks of interest and support that sustain the making of art outside of the limelight. And she introduces us to the various individuals—from cutting-edge artists to collectors to municipal planners—who work together to develop their communities, honor their history, and enrich the experiences of their neighbors through art. Along with its novel insights into these little examined art worlds, Producing Local Color also provides a thought-provoking account of how urban neighborhoods change and grow.

Product Description
Whether it is scooped up off the palette, deployed as propaganda, or opens the doors of perception, color is central to art not only as an element but as an idea. This unique anthology reflects on the aesthetic, cultural, and philosophical meaning of color through the writings of artists and critics, placed within the broader context of anthropology, film, philosophy, literature, and science. Those who loathe color have had as much to say as those who love it. This chronology of writings from Baudelaire to Baudrillard traces how artists have affirmed color as a space of pure sensation, embraced it as a tool of revolution or denounced it as decorative and even decadent. It establishes color as a central theme in the story of modern and contemporary art and provides a fascinating handbook to the definitions and debates around its history, meaning, and use.

Artists surveyed include: Joseph Albers, Mel Bochner, Daniel Buren, Carlos Cruz-Diez, Robert Delaunay, Sonia Delaunay, Jimmie Durham, Helen Frankenthaler, Paul Gauguin, Donald Judd, Wassily Kandinsky, Paul Klee, Yves Klein, Kazimir Malevich, Piero Manzoni, Henri Matisse, Henri Michaux, Beatriz Milhazes, Piet Mondrian, Barnett Newman, Kenneth Noland, Hélio Oiticica, Paul Signac, Ad Reinhardt, Gerhard Richter, Aleksandr Rodchenko, Bridget Riley, Mark Rothko, Yinka Shonibare, Jessica Stockholder, Theo van Doesburg, Vincent van Gogh, Victor Vasarely, Rachel Whiteread.

Writers include: Theodor Adorno, Roland Barthes, Charles Baudelaire, Jean Baudrillard, Walter Benjamin, Charles Blanc, Jacques Derrida, Thierry de Duve, Umberto Eco, Victoria Finlay, Joris-Karl Huysmans, Johannes Itten, Julia Kristeva, Claude Lévi-Strauss, Jacqueline Lichtenstein, Maurice Merleau-Ponty, John Ruskin, Adrian Stokes, Ludwig Wittgenstein ... Read more

Customer Reviews (3)

Totally edutaining
Bought this book twice.... bought it, left it in a bar - bought it again. So that's how much I liked it. I'm going to be teaching a college course in color theory and practice this year, and I picked up this book during my research. (Also checked out "Chromophobia" from the library, and so far am enjoying it.) As a supplement to more meat-and-potatoes (read: boring and rote but necessary) color theory and techniques texts, I am finding this compendium to be lively and full of pithy quotes. It saves me from having to cull from impossibly long texts, and promises to be a good resource for future lectures. Maybe it's just because I am a greedy art reader and practicing painter, but I love this kind of stuff. Who knew? People used to write actual manifestos about specific colors: "White is pure! Purple is enervating! Black is luminous! ...no it's not!" There seems to be no agreement whatsoever, which is one of the things I love about art: it's an eternal argument with no resolution, but is strangely consensus-based at any given moment. Very worthwhile read, although you probably don't have to read it straight through, as I am doing.

A collection of comments on color by artists and writers
Many of the people quoted are famous and/or well-established, but the bulk of them seem to be from pretty far in the past and/or reknowned mainly in Britain. There are also many writers and members of other professions besides visual art. The comments just happen to be about color but are not particularly meaningful. That is, the comments are just snippets from someone's wider body of work as if the book's author had done a search on the word "colour" and included those three or four paragraphs that fit the subject. I didn't find this book very informative at all. I regret buying it.

David Batchelors work is wonderful and thought provoking and this book is likewise.
This is an interesting look at the history of color theories.It has writings by artists and theorists.It follows a historical progression.As an artist I was drawn to comments by other artists.Much of the writing is detailed and some color theory would be helpful but certainly not necessary.David Batchelors work is wonderful and thought provoking and this book is likewise. ... Read more

Product Description
Classic portfolio includes 197 original designs, shown on 48 color plates: arrowhead, blackberry, buttercup, columbine, gourd, honeysuckle, iris, thistle, more; plus animal motifs: seahorses, kingfishers, peacocks, others, as well as some rarely associated with ornamental beauty (rats, lizards). Copyright-free use. "...an attractive and useful reference source."—Theatre Craft.
... Read more

Customer Reviews (1)

Eye candy
This is a lovely book with very interesting and varied authentic antique patterns.The only thing I can think of to warn others of is, these designs are full page.They are not just one or two elements plucked out of a sheet of wallpaper - this IS the whole sheet of wallpaper.If that's OK with you or if that's what you're looking for, then buy this book. ... Read more

Product Description
Discover the tantalizing true stories behind your favorite colors.
For example: Cleopatra used saffron—a source of the color yellow—for seduction. Extracted from an Afghan mine, the blue “ultramarine” paint used by Michelangelo was so expensive he couldn’t afford to buy it himself. Since ancient times, carmine red—still found in lipsticks and Cherry Coke today—has come from the blood of insects. ... Read more

Customer Reviews (50)

Carol Lyons reviews "Color"
"Color" by Victoria Finlay is a fascinatinginvestigation of color, packed with information, stories, and anecdotes. One example of the historic mysteries of color is the chapter about orange. This is a surprising book for anyone curious, who may or may not be an artist.

Okay, but not what I expected
I think the editors/publishers did the reader a disservice when they renamed this book for the American publication.The book's original UK title was "Color:A Journey Through the Paintbox", which more accurately describes this book as a travelogue with color as the roadmap.It also more accurately describes the color history aspect as focusing specifically on fine art and paint.The word "palette" in the American title suggests the author will investigate other palettes such as fashion design and graphic design and interior design and nature and food and so forth.She makes very very brief dalliances into these realms but they are sidetracks, not the meat of the book.

So I was expecting a book more focused on history and a more all-encompassing history than the book provided.I really didn't want to read eight pages of how the author got from Beirut to some remote village.Perhaps that was partly my fault, since although the book was renamed and misnamed, Amazon's description did mention that it was a travelogue.

But even as a history travelogue, I was left wanting.The author doesn't make much of an effort to connect the reader of the modern world to the history she is writing about.She delves as far back as prehistoric times with different colors, and ventures as far forward as mid 19th century, but never goes farther. It is probably the natural tendency of an author of history to forget the value of the present, but without making the connection between past and present, the value of the book is significantly diminished.

One very odd and curious aspect of the book is the author's imaginative wanderings.For example in the chapter on orange, the author has been unable to find any real reference to the origins of the color, so she makes up a story of a Spanish Jew who flees through North Africa, back up into Europe, settling in Italy where he made orange varnishes for violins.Its an entirely made up story based on nothing but the author's own runaway imagination.I can't fault the author for having an imagination, but the editor did her no favors in allowing these excerpts into a non-fiction book.

Very well-written
This book was interesting not only for the information about colors, but also for the author's travels. She went to great lengths to get to the source of some colors, and along the way educates the reader about old customs and cultures. It made me look at everything around me a little more attentively, - really noticing the color (Is that blue, indigo or violet?) and thinking about where that color source may have been acquired. It was all very fascinating and well-written. However, I think the book could be a great basis for a documentary or mini-series. I'd like to be able to see the paintings Finlay references, and watch people making the colors. This is the book's one deficiency; the illustrations are all in the middle (and there aren't many) and I had to keep flipping forward or back to see them as they were referenced in the text.

This is a travel journal... Not a history, or a reference work.
As a graphic designer and color enthusiast I was excited to dig into this book.The actual text however is 80%personal minutia detailing to the author's attempt to find relevant content to put into her book.Actual color history is very scanty.Overall, I found the book to be longwinded and self-indulgent--but most important, and it didn't deliver on its promise.

This book is not dissimilar to an Anthony Bourdain TV episode:"I'm riding in the taxi... it's a hot day... there's something playing on the radio... The taxi weaves in and out of traffic... We're going to meet X person...Will X person be able to tell me anything useful?...I'm nervous about meeting X person... I walk up a long narrow staircase to X person's office... " And so on... on and on and on.Again personal journaling comprises the vast majority of the content.If that's what you're looking for, great.But if you're looking for "A Natural History of the Palette"... not so much.

A colorful read
Colors is a great read for those interested in art, the artist pallet and travelling the world - I highly recommend. ... Read more