COLOR AND DESIGN IN SPECIFIC MEDIA


195. Angel, Marie. Painting for Calligraphers. New York: Overlook, 1984.

127 pp. Index, bibl., B/W illus., color illus. ISBN 0-87951-969-X.

    Angel, an internationally known calligrapher and painter of color

miniatures, gives practical information on various techniques for drawing

and painting on vellum and paper. She also discusses design and painting

for manuscript books, broadsheets, and heraldic devices. The “Colour” and

“Pigment” chapters provide excellent overviews and useful tips. In addition

to her own techniques, Angel includes a section on the work of other

scribes. Illustrations are abundant and exquisite.


196. Dawson, Doug. Capturing Light and Color with Pastel. Cincinnati: North

Light, 1991. Index, B/W illus., color illus. ISBN 0-89134-376-8.

    The scope of this book is broader than the title indicates since it

presents methods and techniques that will work with any opaque medium,

including paint and pastel. The text alternates between a highly personal

account of the author’s methods, discoveries, and experiences, and a

dialogue with an imagined student that offers sensible guidelines and

strategies. Three central chapters focus on interpreting value, solutions to

color problems, and capturing light, the latter accompanied by diagrams of

related sections of the color wheel. Color harmonies are explained on the

basis of a conventional six-hue color circle, with the recommendation to

beginners that the palette be kept simple. The methods and photographs of

work in process will be especially helpful to the beginner. For example, a

demonstration of simultaneously solving composition and color problems

offers 10 compositional models such as silhouette, diagonal line, and “three

spot.” The range of illustrations and color possibilities is necessarily limited

because only the author’s work, which seems to rely on middle and dark

hues, is shown. Although some landscape subjects are included, paintings

of figures dominate. This volume is most valuable for the many thoughtful

and practical strategies it provides for the interested reader.


  1. 197.Dobie, Jeanne. Making Color Sing. New York: Watson-Guptill, 1986. 160

pp. Color illus. ISBN 0-8230-2993-X

    Topics in this watercolor course include color interaction, and

warm-cool and muted-intense color contrasts. The author traces her own

painting process from preparatory sketches and photographs and shows

revisions and successful variations. She analyzes the weaknesses and

strengths of each painting, just as she does with her master classes. Most

important, her lessons show how the design and patterning of the surface

may be handled simultaneously with color experimentation, thus merging

the study of color and form. The many color illustrations range from useful

color charts to color plates that showcase the work of many contemporary

watercolorists. This book will be of special interest to readers who are

attracted to the range of watercolors that often appear in American Artist

magazine, which this collection resembles.


198. Guptill, Arthur L. Color in Sketching and Rendering. New York:

Reinhold, 1935. 348 pp. Index, B/W illus., color illus.

    Intended as a text, this book is divided into two major sections on

watercolor painting and architectural rendering. The first section presents

lessons on watercolor technique, followed by information on color theory,

color and light, characteristics of color, color mixing and matching,

illusions and relativity, color harmony, and composition, all directed toward

sketching outdoors and indoors. The section on architectural rendering

applies the techniques and theoretical information from the first section to

architecture and landscape. Seventy-two exercises, nearly 200 color plates,

and many black-and-white illustrations contribute to the usefulness of the

book, which, although dated, can still serve to supplement more current

treatment of the subject.


199. Gwynn, Kate. Painting in Watercolor. New York: Chartwell,

1982. 176 pp. Index, glossary, B/W illus., color illus. ISBN O-89009-

55 1-5.

    This Quarto production combines an excellent and wonderfully

concise text with splendid illustrations. An introduction to the history of

watercolor is followed by an orientation to materials and equipment.

However, the heart of this approach is revealed in the central chapter, where

principles of composition, perspective, color theory, and watercolor theory

are explained. Final chapters cover landscape and seascape, the figure,

portraits, still life and natural history. The color section emphasizes color as

reflected light,and thus presents both pigment and light primaries and

complements. The color innovations of Chevreul and Seurat are outlined

and related to printing and painting. Reminiscent of Robert F. Wilson’s

terminology, “juxtaposition of color” is used rather than “simultaneous

contrast.” Images and diagrams show how adjacent colors influence each

other. Watercolors from museum collections as well as step-by-step

photographs of work by contemporary artists or the author provide visual

documentation on every page. This excellent group of watercolors inspires

and teaches by example.


200. Katchen, Carole. Creative Painting With Pastels.

Cincinnati,:North Light, 1990. 134 pp. Index, appendices, color illus.

ISBN O-89134-347-4.

    That pastel can be an amazingly versatile and expressive medium is

shown in the creative process of 20 accomplished artists and illustrators

who work in dramatically different styles. Essays on each artist that

describe their methods for planning and executing compositions, often with

step-by-step documented photographs. Four central chapters demonstrate

and illustrate the importance of value, light, color, and composition. Color

temperature, using color and light to show volume, simplifying color,

colored grounds, complementary colors, and organizing are other topics.

The technical information, which includes an appendix on toxic substance in

pastels, is also covered in a systematic and often imaginative manner.


201. Leland, Nita. Exploring Color: How to Use and Control Color

in Your Paintings. Cincinnati: North Light, 1985. 192 pp. Index,

bibl., glossary, B/W illus., color illus. ISBN 0-89134-111-0.

    Directed at artists, this book begins with a brief overview of color

theory and practice in art. After summarizing pigments and techniques,

watercolorist Nita Leland discusses the characteristics of color and then

applies this information to pigments. Through a series of 87 exercises she

helps the reader explore color design, including composition, harmonies

and contrasts, and expression. Hundreds of color illustrations complement

the clearly written text. This is a useful resource applicable to many paint

mediums in addition to watercolor.


202. Maiotti, Ettore. The Watercolor Handbook: Learning from the

Masters. New York: Clarkson N. Potter, 1986. 159 pp. Index,

glossary, B/W illus., color illus. ISBN 0-517-56306-1.

    A practical guide to watercolor painting, this book teaches technique

by example. The author asserts that color and value are as integral to

successful watercolor technique as water. The emphasis on color mixing,

value distribution in compositions, and careful analysis of master works

makes this a fine guide for the student interested in water media. Lessons

are concise and lucid and the writing style is very readable. The author’s

approach to watercolor is fresh and inspiring.


203. Quiller, Stephen. Color Choices. New York: Watson Guptill, 1989. 144

pp. Index, bibl. ISBN 0-8230-0696-4.

    Quiller’s color theory, presented as it is taught in his classes for

painters, is based on traditional pigment color relationships such as

monochromatic and complementary. Color “schemes” are shown on an

abstract color circle, as well as in his watercolor paintings. He also gives

exercises and practical instruction on methods, such as the use of full

intensity colors in small areas and applying “semi-neutrals” mixed from two

complements in large passive areas. Grisaille or underpainting in neutrals to

build the composition is also shown. Small serial images by the author

demonstrate different colorways for the same composition. A section on

using color out of the studio enables the reader to compare photographs of

the subject on location with the author`s watercolor of the subject. The

concluding section is a gallery of paintings by 28 master colorists selected

by the author. The most valuable feature of this book may be the hue circle

that incorporates 68 commercially available pigment colors.


204. Roycroft, Roland. Fill Your Watercolors with Light and Color. Cincinnati

Ohio: North Light Books, 1990. 134 pp. Index, B/W illus., color illus.

ISBN 0-89134-338-5.

    The author, presents a watercolor workshop based on his own

illustration methods. He provides a guided tour of the thought process, as

well as showing every step, from inspirational idea, thumbnail trials, to

sketches and working out large compositions. The color and light theme

that permeates the entire book is especially successful in examples of

paintings based on observing the natural environment. The beginning

illustrator will appreciate the photographs that reveal exciting watercolor

techniques in action. The beautiful printing in Hong Kong enhances this

book.


205. Schink, Christopher. Mastering Color and Design in

Watercolor. New York: Watson~Guptil, 1981. 144 pp. Index, bibl.

B/W illus., color illus. ISBN 0-8230-3015-6.

    This accomplished watercolorist and teacher presents 30 lessons

organized in sections on design and on color. Unlike more prescriptive

approaches, the text allows for the intuitive as well as for deliberate

planning in the creative process and encourages individual interpretation.

Each concept is introduced, illustrated, and followed by a critique section

with thought-provoking questions. The discussions of judging color in

context and of creating space and volume through color deserve special

attention. Although primarily illustrated with the artist’s watercolors, the

book includes the work of many other leading contemporary watercolorists,

with some paintings shown in developmental stages. The author’s vigorous

painting approach and his straightforward writing style combine well in this

splendid book on the creative process.


206. Wilcox, Michael. Color Theory for Watercolors. New York:

Watson-Guptill, 1981. 61 pp. B/W illus. ISBN 0-8230-0757-X.

    This excellent overview of color theory has far more general appeal

than the title implies. Actually intended as a practical guide, it begins with a

detailed explanation of color and light, a definition of the properties of

color, and illustrations of additive and subtractive color mixing.

Considerable attention is given to complementary hues, simultaneous

contrast, and other color phenomena such as fluting, vibrating boundaries,

and optical mixing. Throughout the book are shapes to be filled in using

designated watercolors, though no instruction on the use of watercolor or

any other paint medium is provided. Those interested in learning about

color could use this excellent workbook for independent study.


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