Internationally renowned artist and best selling author Stephen Quiller shows readers how to discover their own personal "color sense" in Color Choices, a book that offers readers a fresh perspective on perfecting their own color styles. With the help of his own "Quiller Wheel," a special foldout wheel featuring 68 precisely placed colors, the author shows artists how they can develop their own unique color blends. First, Quiller demonstrates how to use the wheel to interpret color relationships and mix colors more clearly. Then he explains, step by step, how to develop five structured color schemes, apply underlays and overlays, and use color in striking, unusual ways. This book will bring out every artist's unique sense of color whether he or she works in oil, watercolor, acrylics, gouache, or casein.

An experimental approach to the study and teaching of color is comprised of exercises in seeing color action and feeling color relatedness before arriving at color theory.

How to use and control color in your painting

Mark Eli Kalderon presents an original study in the philosophy of perception written in the medium of historiography. He considers the phenomenology and metaphysics of sensory presentation through the examination of an ancient aporia. Specifically, he argues that a puzzle about perception at a distance is behind Empedocles' theory of vision. Empedocles conceives of perception as a mode of material assimilation, but this raises a puzzle about color vision, since color vision seems to present colors that inhere in distant objects. But if the colors inhere in distant objects how can they be taken in by the organ of sight and so be palpable to sense? Aristotle purports to resolve this puzzle in his definition of perception as the assimilation of sensible form without the matter of the perceived particular. Aristotle explicitly criticizes Empedocles, though he is keen to retain the idea that perception is a mode of assimilation, if not a material mode. Aristotle's notorious definition has long puzzled commentators. Kalderon shows how, read in light of Empedoclean puzzlement about the sensory presentation of remote objects, Aristotle's definition of perception can be better understood. Moreover, when so read, the resulting conception of perception is both attractive and defensible.

It is to Greek critical thinking about seeing that we owe our conceptual framework for theorizing the senses, and it is also to such thinking that we owe the lasting legacy of Greco-Roman imagery. Sight and the Ancient Senses is the first thorough introduction to the conceptualization of sight in the history, visual culture, literature and philosophy of classical antiquity. Examining how the Greeks and Romans interpreted what they saw, the collection also considers sight in relation to the other senses. This volume brings together a number of interdisciplinary perspectives to deliver a broad and balanced coverage of this subject. Contributors explore the cultural, social and intellectual backdrops that gave rise to ancient theories of seeing, from Archaic Greece through to the advent of Christianity in late antiquity. This series of specially commissioned thematic chapters demonstrate how theories about sight informed Graeco-Roman philosophy, science, poetry rhetoric and art. The collection also reaches beyond its Graeco-Roman visual framework, showcasing how ancient ideas have influenced the longue durée of western sensory thinking. Richly illustrated throughout, including a section of color plates, Sight and the Ancient Senses is a wide-ranging introduction to ancient theories of seeing which will be an invaluable resource for students and scholars of classical antiquity.

During the first two decades of the nineteenth century, two of the most significant theoretical works on color since Leonardo da Vinci's Trattato della Pittura were written and published in Germany: Arthur Schopenhauer's On Vision and Colors and Philipp Otto Runge's Color Sphere. For Schopenhauer, vision is wholly subjective in nature and characterized by processes that cross over into the territory of philosophy. Runge's Color Sphere and essay "The Duality of Color" contained one of the first attempts to depict a comprehensive and harmonious color system in three dimensions. Runge intended his color sphere to be understood not as a product of art, but rather as a "mathematical figure of various philosophical reflections." By bringing these two visionary color theories together within a broad theoretical context—philosophy, art, architecture, and design—this volume uncovers their enduring influence on our own perception of color and the visual world around us.

A powerful reminder to anyone who thinks design is primarily a visual pursuit, The Senses accompanies a major exhibition at the Cooper-Hewitt Smithsonian Design Museum that explores how space, materials, sound, and light affect the mind and body. Learn how contemporary designers, including Petra Blaisse, Bruce Mau, Malin+Goetz and many others, engage sensory experience. Multisensory design can solve problems and enhance life for everyone, including those with sensory disabilities. Featuring thematic essays on topics ranging from design for the table to tactile graphics, tactile sound, and visualizing the senses, this book is a call to action for multisensory design practice. The Senses: Design Beyond Vision is mandatory reading for students and professionals working in diverse fields, including products, interiors, graphics, interaction, sound, animation, and data visualization, or anyone seeking the widest possible understanding of design. The book, designed by David Genco with Ellen Lupton, is edited by Lupton and curator Andrea Lipps. Includes essays by Lupton, Lipps, Christopher Brosius, Hansel Bauman, Karen Kraskow, Binglei Yan, and Simon Kinnear.

Unlock the secrets to gorgeous, expressive, unforgettable color! Finding color combinations that not only work but excite the eye is one of the greatest challenges artists face. This updated and expanded 30th anniversary edition of the North Light classic Exploring Color teaches artists of all mediums and skill levels how to use and control color in their artwork and shows how exhilarating and enjoyable the ride can be. Popular art instructor and best-selling author Nita Leland will help you take any artwork you make to new color heights. Memorable paintings from more than 30 contributing artists are inside towill inspire you, along with 75+ hands-on exercises, 8 step-by-step demonstrations and countless nuggets of color knowledge--all in your own private workshop! Learn how to master color mixing, assemble the perfect palette for your artistic goals, select just the right color scheme, and communicate color in a way that elevates your designs way beyond the ordinary. Start a handy journal to keep track of your discoveries, with customized mixtures, color wheels, reference charts and other tools designed to uncover your color personality and help you work with color more efficiently. Nita knows that the quest for perfect color can be fun, and it can be yours. So stop guessing, and start exploring! "Beautiful color is no happy accident. Color can be learned." --Nita Leland

The science behind a good meal: all the sounds, sights, and tastes that make us like what we're eating—and want to eat more. Why do we consume 35 percent more food when eating with one other person, and 75 percent more when dining with three? How do we explain the fact that people who like strong coffee drink more of it under bright lighting? And why does green ketchup just not work? The answer is gastrophysics, the new area of sensory science pioneered by Oxford professor Charles Spence. Now he's stepping out of his lab to lift the lid on the entire eating experience—how the taste, the aroma, and our overall enjoyment of food are influenced by all of our senses, as well as by our mood and expectations. The pleasures of food lie mostly in the mind, not in the mouth. Get that straight and you can start to understand what really makes food enjoyable, stimulating, and, most important, memorable. Spence reveals in amusing detail the importance of all the “off the plate” elements of a meal: the weight of cutlery, the color of the plate, the background music, and much more. Whether we’re dining alone or at a dinner party, on a plane or in front of the TV, he reveals how to understand what we’re tasting and influence what others experience. This is accessible science at its best, fascinating to anyone in possession of an appetite. Crammed with discoveries about our everyday sensory lives, Gastrophysics is a book guaranteed to make you look at your plate in a whole new way.