A key text on colour theory, this comprehensive guide bridges the gap between colour science and its practical application in art and design. First published in 1918, Bonnie E. Snow's Theory and Practice of Color showcases the fundamental aspects of colour theory while providing readers with an in-depth understanding of basic colour principles. Its contents include: The Source of Colour The Primary Colors and Their Uses in Design Colour Values: Tints and Shades Complementary Colours and How to Use Them The Colour Triad and the Split Complement The Psychology of Colour Colour Harmonies in Interior Design This facsimile volume focuses on how colours interact, blend, and affect human emotion. It's an essential reference book for artists and designers, as well as those interested in the history of colour theory and its applications.

Everything artists need to know about an important and popular subject. Designed as a complete resource, this book considers every aspect of color: historical, physical, perceptual, aesthetic, and practical. With its numerous step-by-step sequences and illustrations of theory in practice, this guide has everything artists need to gain a mastery of the subject. 400 full-color illustrations.

A treatise on the appreciation and "enjoyment of color" in everyday life, published for the "average man," as opposed to the physicist, the chemist, or the artist, to whom many previous color books appealed.

Aimed at professionals and students, this book explains how to make use ofolour in various types of painting. Colour theories are outlined, but theain emphasis of the book is the way contemporary artists such as Jasperohns and Milton Avery, actually use colour.

Recent restoration campaigns, particularly to the Sistine Chapel, have focused attention on the importance of colour in our experience of paintings, but until recently it has been neglected by art historians. The author believes that the work of art can only be fully appreciated when it is regarded as the product of both the artist's hand and mind. This study utilizes the traditional sources, such as contemporary theoretical writings and iconographical analysis, but in addition draws on the scientific findings of the conservation laboratories. This is a new body of data assembled in large part since World War II, which art historians are only beginning to exploit to fill out the history of technique. Rather than writing merely a history of technique, however, the author has integrated this material with traditional approaches to cultural history. She undertakes to examine twenty major paintings of the period from Giotto to Tintoretto to elucidate how colour and technique contribute to their meaning. She gives us then, the first modern consideration of Renaissance paintings both as physical objects and as monuments of cultural history.

A treatise on the appreciation and "enjoyment of color" in everyday life, published for the "average man," as opposed to the physicist, the chemist, or the artist, to whom many previous color books appealed.