450. Allen, Janet. Drawing. New York: Van Nostrand Reinhold, 1980.

128 pp. Index, B/W illus., color illus. ISBN 0-442-24498-3.

    This text places an unusually high priority on color in drawing. A

15- page “Handling Color” chapter follows the brief introduction and

treatment of materials. The discussion of color theory includes mixing a hue

circle with primary hues and mixing secondary hues from two primaries.

Optical color is demonstrated in pencil exercises, in discussions of half-tone

reproduction in printing, and in examples by artists. A color vocabulary is

explained. Handsome color illustrations of works by artists known for their

colored drawings masterworks provide the “criterion performance” on most

pages. For example, drawings by Albrecht Diirer, Sonia Delaunay, and

David Hockney enhance the color chapter. An “Improving Observation”

chapter follows with exercises and projects for students. Other chapters on

elements of composition, techniques, and handling the finished drawing

complete the book. This teach-yourself text would be excellent for those

who wish to integrate study of color with drawing.

451. Borgeson, Bet. The Colored Pencil. New York: Watson-Guptil,

1983. 142 pp. Index, B/W illus., color illus. ISBN 0-8230-0742-1.

    The author’s coloristic approach to drawing is the basis for this

book. A broad range of examples, including interior design renderings and

portraits, shows how he creates structure with color. Color is seen as

playing an essential role in the drawing process from the onset, rather than

being treated as added decoration. Instructive discussions of hue circles,

value and texture scales, and color relativity distinguish this book from

technical manuals. The author’s careful attention to details extends to

providing instruction on archival matting and framing methods as well as a

survey of materials and equipment.

452. Borgeson, Bet. Colored Pencil Fast Techniques. Photography by Edwin

Borgeson. New York: Watson-Guptil, 1988. 144 pp. Index, B/W illus.,

color illus. ISBN 0-8230-0760-X.

    Borgeson holds that color drawing “consists of two major technical

tasks: the drawing and the simultaneous color application.” The theme of

his third colored pencil book is creating a look of complexity with fewer

layers of penciled-in color. Photographs of five of the author’s illustrations

document his design method from preliminary stages to completed colored

pencil drawing. This practical book also shows many useful technical

shortcuts developed in the author’s studio. Twelve pages of charts for the

reader to fill in and several pages of small color swatches that show

available Prismacolor and Derwent colors add to the usefulness. The high-

quality of the illustrations and the instructive text will easily hold the

attention of the design student or professional illustrator.

  1. 453.Dalley, Terence consulting editor. The Complete Guide to Illustration

and Design Techniques and Materials. Secaucus, NJ: Chartwell, 1980. 224

pp. Index, glossary, B/W illus., color illus. ISBN 0-89009-316-4.

    This survey of all aspects of illustration and graphic design covers

history, equipment, materials, techniques, and examples. The design

procedures chapter looks at design process from idea to final printed

product. The discussion of color is limited to technical information on color

reproduction in the printing process, including photo-mechanical

reproduction of color, color separations and correction, screening half-tone

color and the suitability of color originals. While this is a useful overview

for the student or novice illustrator or graphic designer, those seeking

practical information on color usage in design will probably be


454. de Fiore, Gaspare. Learning to See and Draw: Studying the

Techniques of the Old Masters for Working Methods and a

Personal Style. Translated by Joachim N eugroschel. New York:

Watson-Guptill, 1983. 188 pp. Index., B/W illus, color illus. ISBN: 0-

8230- 135 7-X.

    This volume by a professor at the School of Architecture in Genoa

has three major sections: learning to see, drawing from life, and seeing

shape. While this may sound conventional, the author sweeps in a

fascinating array of free-wheeling topics and themes. Ten-page units cover

expected topics such as the “Study of the Nude,” or “Measurement and

Drawing,” and “Psychology of Form” (on Gestalt psychology). Other

sections discuss and illustrate the color spectrum, color values, the

meanings of colors, and drawing with colors. Topics are illustrated by the

work of leading artists. For example, in “The Signs and Strokes of Miro”

the author explains possibilities for color sequences and proportion. Under

“A Drawing a Day” a colored drawing by Klee is used as the basis for a

colored pencil lesson. “Travel Notes” analyzes colored drawings by

Delacroix, Gaugin, Klee, and Goethe, and black and white drawings of Le

Corbusier. Examples of Western art and architecture are appropriately

located on every page of the text and related to thoughtful teach-yourself

exercises. Sometimes the organization seems jumbled as it combines

analysis and essays, historic or contemporary examples, exercises and

guidelines for working methods. This informative, exuberant, and

marvelously imaginative book is the first volume in the series to be

published in English. One hopes that the author’s four other titles on color

theory, color and personality, and other design and drawing topics will

become available to the English reader.

455. Doyle, Michael E. Color Drawing: A Marker/Colored Pencil

Approach for Architects, Landscape Architects, Interior and

Graphic Designers, and Artists. New York: Van Nostrand

Reinhold, 1980. 320 pp. Index, bibl., glossary, color illus. ISBN 0-442-

22 l 84-3.

    The author, a design educator, offers a broad framework for

learning to make informed design decisions based on an understanding of

color fundamentals, color harmony, and composing with color. He

intersperses discussions of these basic color topics with practical

instructions for creating color effects through an optical mixture technique

that layers markers and colored pencils. Several drawing portfolio sections

include compositions that depict a range of architectural materials in

interior and exterior contexts. The Munsell-based color harmony section,

approximately a fifth of the book, is augmented by an index of 20 full-page

Munsell hue charts that show some color equivalents in marker and colored

pencil. While afterimage is described as the basis for Munsell opposites,

simultaneous contrast and interaction of colors are not covered. Color

“schemes” and harmony through dominance, contrast, and repetition are

well illustrated and explained with frequent quotes from Itten’s The Art of

Color. Students who use this guide as the author intended should become

much more aware of foundational color concepts as they strive for technical


456. Hutton-Jamieson, Iain. Coloured Pencil Drawing Techniques. London:

Studio Vista Cassell, 1987. 176 pp. Index, glossary, color illus. ISBN 0-


    The author shows and explains many colored pencil techniques in

drawings that vary from tightly controlled illustrations to loose sketches.

For some examples he documents the design process in photographs that

show the beginning point, which may be a photograph or sketch, and

follow through to completion. A chapter on color composition covers basic

color theory which includes advancing and receding color relativity.

Another chapter on creating color provides an analysis of how to build

pigment color in layers. Several colored illustrations and many eclectic

examples provide a broad survey that should satisfy readers seeking

inspiration as well as instruction on technique.

457. Lorenz, Albert and Stanley Salzman. Drawing in Color: Rendering

Techniques for Architects and Illustrators. New York: Watson-Guptill,

1991. 223 pp. Index, b/w illus., color illus. ISBN 0-8230-1384-7

    The color harmony section covers hue, value and intensity,

monochromatic, analogous, complementary, split-complementary, and

triadic relationships. Other topics includes historic hue circles by Newton,

Goethe, Munsell, Hölzel, Itten, the 12 hue circle, color as light and as

pigment, and color as sight and symbol. A media and technique section

provides many examples with brief captions on the technique and the color

scheme. The media surveyed include gouache, colored pencils, crayon,

natural pigment watercolors and analine dyes. Figure, interiors, exteriors,

and surroundings are among the subjects treated. The many handsome

illustrations are by the authors or by their students at Pratt Institute of

Architecture. Although the focus is on architectural illustration, the

information on color in printing, and the concluding section on creating

fantasy drawings for books, magazines, posters and cards will inspire

graphic designers as well.