Beschreibung

This book provides an introduction to topics in color theory suitable for artists, designers, and others who may not possess a scientific or technical background. It presents factual information in a simple, yet technically sound manner. (All mathematical equations are confined to a notes section and are not necessary in order to understand the text.) One chapter presents an explanation of the CIE chromaticity diagram, together with demonstrations of some of its applications. Practical means are provided for the selection of complementary colors, for the conversion of color specifications from one system to another, for assigning color names, for predicting colors of mixtures of colored lights, and for appraising the influence of simultaneous contrast in some instances. In this second edition some passages have been updated and the discussions of some topics have been expanded (e. g. of metamerism, CIELUV and CIELAB color spaces, and OSA uniform color scales).
New sections have been added on liquid crystals, metameric illumination, color rendering, various color standards, adaptation, memory color, afterimage complementary colors, simultaneous contrast, colored shadows, edge contrast, and assimilation. This book directly addresses a long-felt, unsatisfied need of modern color science - an appreciative and technically sound presentation of the principles and main offerings of colorimetry to artists and designers, written by one of them. With his unique blend of training and experience in engineering, with his lifelong interest and, latterly, career in art and art education, Dr. Agoston is unusually well prepared to convey the message of color science to art and design. His book fulfills the hopes I had when I first heard about him and his book. I foresee important and long-lasting impacts of this book, analogous to those of the epoch-making writings by earlier artist-scientists, such as Leonardo, Chevreul, Munsell, and Pope. Nearly all persons who have contributed to color science, recently as well as formerly, were attracted to the study of color by color in art. Use of objective or scientific methods did not result from any cold, detached attitude, but from the inherent difficulties of the problems concerning color and its use, by which they were intrigued. Modern education and experience has taught many people how to tackle difficult problems by use of scientific methods. Therefore - color science.

Inhaltsangabe

Contents: Introduction.- The Concept of Color.- Perceived Colors.- Light and Color.- Colored Materials.- Color Specification (CIE).- Diverse Applications of the CIE Chromaticity Diagram.- Color Systems.- Color Systems (Continued): The OSA Uniform Color Scales.- Color Names and Notations and Their Levels of Precision.- Conditions of Viewing and the Colors Seen.- Appendix.- Color Plates I-XXIII.- References.- Name and Subject Index. 1. Introduction.- 2. The Concept of Color.- 3. Perceived Colors.- 4. Light and Color.- 5. Colored Materials.- 6. Color Specification (CIE).- 7. Diverse Applications of the CIE Chromaticity Diagram.- 8. Color Systems.- 9. Color Systems (Continued): The OSA Uniform Color Scales.- 10. Color Names and Notations and Their Levels of Precision.- 11. Conditions of Viewing and the Colors Seen.- 12. Appendix.- Color Plates I XXIII.- References.- Name and Subject Index.

Klappentext

This book directly addresses a long-felt, unsatisfied need of modern color science - an appreciative and technically sound presentation of the principles and main offerings of colorimetry to artists and designers, written by one of them. With his unique blend of training and experience in engineering, with his lifelong interest and, latterly, career in art and art education, Dr. Agoston is unusually well prepared to convey the message of color science to art and design. His book fulfills the hopes I had when I first heard about him and his book. I foresee important and long-lasting impacts of this book, analogous to those of the epoch-making writings by earlier artist-scientists, such as Leonardo, Chevreul, Munsell, and Pope. Nearly all persons who have contributed to color science, recently as well as formerly, were attracted to the study of color by color in art. Use of objective or scientific methods did not result from any cold, detached attitude, but from the inherent difficulties of the problems concerning color and its use, by which they were intrigued. Modern education and experience has taught many people how to tackle difficult problems by use of scientific methods. Therefore - color science.