441. Allen, Jeanne. Designer’s Guide to Color 3. San Francisco:

Chronicle, 1986. 119 pp. Color illus. ISBN 0-87701-408-6.

    This book presents more than 900 color combinations as prints and

patterns organized according to type. Geometric patterns such as blocks,

stripes, and plaids are followed by abstracts, florals, letterforms, children’s

prints, Art Deco, mosaics, and ethnic patterns. Each pattern, which

contains as few as two or as many as six different colors, is accompanied

by CMYK printing formulas. The author explains that the purpose of the

guide is to help designers visualize color combinations, and recommends

that readers refer to books by Itten or De Grandis for color theory. The

brief text describes the 2” x 2” color samples. Given the emphasis and the

selection of patterns, this volume in the series will be of most interest to

those working in apparel, fashion, interior design, and textile related fields.

442. Chijiiwa, Hideaki. Color Harmony: A Guide to Creative Color

Combinations. Rockport, MA: Rockport, 1987. 142 pp. B/W illus.,

color illus. ISBN O-935603-06-9.

    This step-by-step guide for choosing colors is founded on 61 basic

colors. The 1,662 different combinations shown are arranged according to

hue, to commonly used color schemes, and to use and mood. The text

frequently refers to popular usage of colors and color combinations. The

book’s most useful features are: a multitude of color combinations; twelve

guidelines for choosing and using color; swatches of the 61 colors; and a

chart for converting the identification colors from the Dainippon Ink &

Chemicals’s DAI Color Guide to CMYK percentages for four-color

printing. The interesting ten hue color wheel, reminiscent but not attributed

to Munsell, incorporates process colors and appears to replace purple blue

with one additional purple. Though the brevity of the text, and absence of

explanation for the system may limit the usefulness of this book for some

raiders, Color Harmony the text is more valuable than many color guides.

443. Color Sourcebook: A Complete Guide to Using Color in Patterns.

Rockport, MA: Rockport, 1989. 2 vols. 108 pp. Color illus. Vol. 1,

ISBN 0-935603-28-X. Vol. 2, ISBN 0-935603-29-8.

    Each volume in this lavishly illustrated series offers 500 patterns in

three distinct color “schemes.” Each section provides a concept photo

collage that sets the mood, a short descriptive paragraph, a color plate with

15 color bands related to the color theme, and a table with small samples of

25 patterns. Each section also includes over 30 pages of color plates that

show various color ways and give CMYK percentages for the different

patterns. Volume one is organized into three sections on natural colors,

oriental colors, and high-tech colors. Volume two presents more color

combinations under the headings of pop colors, retro-modem colors, and

post-modem colors. The preface states that color harmonies and discords

are culturally related. The superb color printing is reminiscent of recent

Japanese books of printed samples and color collections, although there is

no such attribution. Although intended as visual guide intended to inspire

designers by example, explanation of the colors or patterns would be


444. Kobayashi, Shigenobu. A Book of Colors. New York:

Kodansha, 1987. 128 pp. Color illus. ISBN 0-87011-800-5.

    The author is a researcher in psychology and founder of the Nippon

Color and Design Research Institute in Japan, which developed the “Color

Image Scale” that is the foundation of its psychology-of-color theories.

Using this scale, the book presents color combinations, considered

universal by the author, based on 18 moods such as “Urbane, Sweet, and

Folksy.” The second part of the book shows 18 major colors in varying

combinations and proportions. The 1,200 combinations are very small in

size, but their large number makes this a useful resource. The useful

although brief and undocumented commentary on every page refers mainly

to color usage, meaning, and associations related to clothing and interiors.

Information on the system and on color theory based on a 10-hue color

circle is located in the middle of the book rather than at the beginning.

445. Mix & Match Designer ’s Colors. New York: Van Nostrand

Reinhold, 1990. Unpaginated. B/W illus., color illus. ISBN 0-442-


    This clever guide to process colors by a design team at Quarto

Publishing in London, consists of a spiral-bound manual with an eight-

page introduction that explains how to use the manual and how the four-

color process works. Two methods of choosing and specifying color are

described: first is a proprietary color swatch book, such as Pantone®’s,

which presents solid areas of color printed using premixed inks; the second

is based on a process-color tint chart that shows optical mixtures of the four

process colors in a conventional grid format, along with percentages for

matching. The colors in this manual are made with process colors. As

opposed to the inflexible grid format, in order to permit the designer to see

color combinations the manual is composed of sets of 2-3/4” by 6- l/4”

color swatches, bound into four adjacent groups, that can be flipped freely.

The claim is made that the 600 individual colors can be flipped into

30,000,000 different combinations. The introduction warns that process-

color inks can vary slightly because different standards are used in the

United States, Britain, Europe, and Japan. The guide was printed in Hong

Kong using a black, cyan,magenta, and yellow printing sequence.

446. Russell, Dale. Colorworks. Cincinnati: North Light, 1990. 5 vols.

144 pp. Color illus. Colorworks I: The Red Book. Colorworks

2: The Blue Book. Colorworks 3: The Yellow Book.

Colorworks 4: The Pastels Book. Colorworks 5: The Black

and White Book. Vol. 1, ISBN 0-89134-333-4. Vol. 2, ISBN 0-

89134-333-2. Vol. 3, ISBN 0-89134-335~0. Vol. 4, ISBN 0-89134-

340-7. Vol. 5, ISBN 0-89134-341-5.

    Each of the five Colorworks in this wonderfully innovative series is

an inspiring and informative guide to the use of color in graphic design.

Each book follows precisely the same format and can be enjoyed

individually. However, the entire set provides a practical tool that includes

but goes well beyond the mechanics of specifying color for process

printing. The five volumes comprise a reference system to 125 selected

colors, with 400 type possibilities, 1,000 half-tone options, and 1,500 color

combinations on tinted stock, on constant color charts, as color ways, as

backdrops, as conveyers of image content, and in designs that combine

several colors. Each of the basic colors is shown in consistent patterns, as

type on various background tints, and in duo-tone and tri-tone. Outstanding

examples of the work of leading international graphic designers illustrate

concise discussions of how the colors can be affected by optical illusions;

proportion and texture changes; psychological associations; cultural and

period influences; and color as a marketing tool. The author and book

production team of 16 editors and designers have created a beautifully

illustrated and informative series that is superbly printed in Hong Kong.

Colorworks 1: The Red Book presents a spectrum of 25 reds, magentas,

purples, and oranges. Colorworks 2: The Blue Book features 25 blues,

purples, and cyan greens. Colorworks 3: The Yellow Book shows 25

yellow derived colors, including greens and browns. Colorworks 4: The

Pastels Book offers an entire spectrum from yellow, through pink, purple,

blue and green at the pastel level, including subtle grayed tints. Eight of the

colors featured in Colorworks 5: The Black and White Book are grays

based on increasing percentages of black while the rest consist of the same

black percentages with low percentages of yellow or magenta or cyan

added; thus its 25 “colors” cover an entire spectrum from yellow, through

pink, purple, blue and green at tint or pastel level, including subtle grayed

tints. The only shortcoming is the lack of explanation of the rationale for

selecting the basic hues for each book, and for determining the color names.

447. Shibukawa, Ikuoshi. Designer’s Guide to Color 4. San Francisco:

Chronicle, 1990. 140 pp. Bibl., color illus. ISBN 0-8771-690-9.

    This fourth title in the Designers Guide series consists mainly of

small color samples printed in over 1,000 color combinations organized into

four color “tone” groups that move from bright to clear and from deep to

subdued. A section with three color combinations shows three variants,

each with different proportions of the same three colors. Color categories

shown include: light pale, bright dull, neutral and dull, vivid, vivid and

dark, deep, deep and grayish, grayish. This guide is for those who find

inspiration from leafing through different color combinations and

proportions prior to making color decisions. Although CMYK percentages

are given for matching, there is no explanation or critique of the colors.

448. Stockton, James. Designer’s Guide to Color. San Francisco: Chronicle,

1983. 135 pp. Color illus. ISBN 0-87701-317-9.

    The first guide in a series intended as a practical tool for designers

offers what the author calls a clinical approach that shows the appearance of

90 different basic colors, each printed in equal proportions or stripes with

one or two other colors. Ten to 20 color altematives are shown for each

basic color. CMYK printing formulas are provided. The text, based on

Haishoku Jiten by I. Shibukawa and Y. Takahashi, consists of 8

paragraphs on different topics arbitrarily scattered throughout the lush color


449. Stockton, James. Designer’s Guide to Color 2. San Francisco:

Chronicle, 1984. 127 pp. Color illus. ISBN 0-87701-345-4.

    This second guide in a series features more complicated printed

color combinations. Following a very brief introduction to color theory,

the book consists of pages of small samples of 90 basic colors in more than

1,000 combinations categorized according to qualities described as bright,

brilliant, medium, dark, subdued, concentrated, and clear. CMYK

formulas for all the colors are given. In contrast to the “basic and clinical”

approach of the first guide, here the author explores “emotional and

personal” aspects of color in captions that are subjective and sometimes

vague. Like the first in the series, this book is based on Haishoku Jiten by

I. Shibukawa and Y. Takahashi.