Fiber artists will welcome this opportunity to learn how to use and control color with this monumental and exquisitely beautiful book. Whether they stitch, quilt, weave, work in macrame, hook rugs, knit, crochet, or experiment in mixed media, the artists will benefit from the authors' techniques for solving color problems. Color and Fiber is divided into three sections. The first section presents essential terminology, ideas, and definitions about light and color as preparation for the problems, projects and ideas which follow. The second section describes how light, dye and pigment work with fibers because individual fibers, yarns and fabrics differ in their responses to light and color. The ability to solve color problems depends on the artists' understanding of the fiber's light and color relationships. The third section presents the practical applications for the information gained in the first two sections. Besides color mixing and special effects such as iridescence and opalescence, this section examines projects that artists or classes can do to understand color's part in determining spatial effects, emotional impact and color systems.

A comprehensive introduction to colorimetry from a conceptual perspective. Color for the Sciences is the first book on colorimetry to offer an account that emphasizes conceptual and formal issues rather than applications. Jan Koenderink's introductory text treats colorimetry—literally, “color measurement”—as a science, freeing the topic from the usual fixation on conventional praxis and how to get the “right” result. Readers of Color for the Sciences will learn to rethink concepts from the roots in order to reach a broader, conceptual understanding. After a brief account of the history of the discipline (beginning with Isaac Newton) and a chapter titled “Colorimetry for Dummies,” the heart of the book covers the main topics in colorimetry, including the space of beams, achromatic beams, edge colors, optimum colors, color atlases, and spectra. Other chapters cover more specialized topics, including implementations, metrics pioneered by Schrödinger and Helmholtz, and extended color space. Color for the Sciences can be used as a reference for professionals or in a formal introductory course on colorimetry. It will be especially useful both for those working with color in a scientific or engineering context who find the standard texts lacking and for professionals and students in image engineering, computer graphics, and computer science. Each chapter ends with exercises, many of which are open-ended, suggesting ways to explore the topic further, and can be developed into research projects. The text and notes contain numerous suggestions for demonstration experiments and individual explorations. The book is self-contained, with formal methods explained in appendixes when necessary.

Skilful lighting involves a subtle blend of systematic mechanics and a sensitive visual imagination. It requires anticipation, perceptiveness, patience and know-how. But learning through practice alone can take a great deal of time. This book is a distillation of many years' experience, with advice and guidance that will bring successful results right from the start. Whether you are a student studying lighting techniques in the television, video and film media, or a professional lighting for the camera, this book will be an invaluable aid. Other members of the production team, including camera crews, designers and directors, will also find the information here interesting and useful. The book concentrates primarily on the fundamental principles of lighting in studios, on location and display, as well as single-camera, small unit production, improvised and economy lighting, and working with limited facilities. Emphasis is also placed on the safety aspects of working with lighting equipment. Lighting for Television and Film reflects the author's considerable experience of lighting techniques in BBC studios, his teaching and consultancy work. Gerald Millerson's analytical writings spring from a lifetime's personal experience in the medium, and from his teaching and engineering background. During his career with the BBC, he was primarily associated with studio operations in the Television Service. His lecturing background included courses in TV production at a number of American universities. His other books for Focal Press are Television Production, TV Scenic Design, Video Production Handbook and, in the Media Manuals series, Effective TV Production, Lighting for Video and Video Camera Techniques.

This book is the product of Research Study Group (RSG) 13 on "Human Engineering Evaluation on the Use of Colour in Electronic Displays," of Panel 8, "Defence Applications of Human and Biomedical Sciences," of the NATO Defence Research Group. RSG 13 was chaired by Heino Widdel (Germany) and consisted of Jeffrey Grossman (United States), Jean-Pierre Menu (France), Giampaolo Noja (Italy, point of contact), David Post (United States), and Jan Walraven (Netherlands). Initially, Christopher Gibson (United Kingdom) and Sharon McFaddon (Canada) participated also. Most of these representatives served previously on the NATO program committee that produced Proceedings of a Workshop on Colour Coded vs. Monochrome Displays (edited by Christopher Gibson and published by the Royal Aircraft Establishment, Farnborough, England) in 1984. RSG 13 can be regarded as a descendent of that program committee. RSG 13 was formed in 1987 for the purpose of developing and distributing guidance regarding the use of color on electronic displays. During our first meeting, we discussed the fact that, although there is a tremendous amount of information available concerning color vision, color perception, colorimetry, and color displays-much of it relevant to display design-it is scattered across numerous texts, journals, conference proceedings, and technical reports. We decided that we could fulfill the RSG's purpose best by producing a book that consolidates and summarizes this information, emphasizing those aspects that are most applicable to display design.