'Color Influencing Form' offers a compact, comprehensive and inexpensive coursebook for the study of color in art and design. In 35,000 words it methodically covers all basic color theory for visual artists and designers, including relationships between light sources, surfaces and vision, visual illusions, and symbolic and functional aspects of color. It further proposes how color can be examined creatively in relation to the perception of form, including figure-ground division, contour, tone and texture, opacity and transparency, spatial ambiguity, and perspective of color, detail, size, and shape. Roy Osborne is an artist and author of books on color. He has lectured at over 200 colleges worldwide. In 2003 he received the Turner Medal of the Colour Group (Great Britain), and in 2019 received the Colour in Art, Design and Environment Medal of the International Colour Association.

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.

Updated to 2020, BOOKS ON COLOUR 1495-2015 offers quick and easy reference to 2,500 authors and editors and over 3,000 titles published by them. Following a concise historical survey of colour literature, authors are listed in an A-Z directory, together with titles, dates and places of publication, and translations for non-English titles. Biographical references are included where known. Chronological indexes of authors precede the bibliographical listing and alphabetical indexes of authors follow it. Publications are categorised under 27 general headings: Architecture, Chemistry, Classification, Colorants, Computing & Television, Decoration, Design, Dress & Cosmetics, Dyeing, Flora & Fauna, Food, Glass, History, Lighting, Metrology, Music, Optics, Painting, Perception, Philosophy, Photography & Cinema, Printing, Psychology, Symbolism, Terminology, Therapy, and Vision.

'Sicily Herald and the Blazon of Colours' brings together the original texts with original English translations of two closely related primary sources on Renaissance colour symbolism. 'Le Blason de toutes armes et scutz' (The blazon of all arms and shields) was completed about 1420 by Jean Courtois (c. 1375-1436), the Sicily Herald, and printed in Paris in 1495. The second, 'Le Blason des couleurs en armes, livr es, et devises' (The blazon of colours in arms, liveries and devices), by Gilles Corrozet (1510-68), was published in Paris in 1527 by Pierre Le Brodeur. They were first two books on colour to be printed in Europe, and are now available in English for the first time in five centuries. Roy Osborne is an artist, educator and historian, and author of books on colour. He was awarded the Turner Medal of the Colour Group (Great Britain) in 2003, and the Colour in Art, Design and Environment Medal of the International Colour Association in 2019.

"Renaissance Colour Symbolism brings together texts and translations of the four earliest printed books on the meaning of colours: Le Blason de toutes armes et éscutz [The Blazon of All Arms and Escutcheons] (1495) by Jean Courtois, the Sicily Herald; Le Blason des couleurs en armes, livrées et devises [The Blazon of Colours in Arms, Liveries and Devices] (1527) by Gilles Corrozet; Libellus de coloribus [Booklet on Colours] (1528) by Antonio Telesio (Thylesius); and Del significato de' colori [On the Signification of Colours] (1535) by Fulvio Pellegrino Morato. Parts of three other early books are included, from The Accedens of Armory (1562) by Gerard Legh; Trattato dell'arte della pittura, scoltura, et archittetura [Treatise on the Arts of Painting, Sculpture, and Architecture] (1584) by Giovanni Paolo Lomazzo; and A Tracte Containing the Artes of Curious Paintinge, Carvinge and Buildinge (1598) by Richard Haydocke"--Provided by publisher.

A Cultural History of Color in Antiquity covers the period 3000 BCE to 500 CE. Although the smooth, white marbles of Classical sculpture and architecture lull us into thinking that the color world of the ancient Greeks and Romans was restrained and monochromatic, nothing could be further from the truth. Classical archaeologists are rapidly uncovering and restoring the vivid, polychrome nature of the ancient built environment. At the same time, new understandings of ancient color cognition and language have unlocked insights into the ways – often unfamiliar and strange to us – that ancient peoples thought and spoke about color. Color shapes an individual's experience of the world and also how society gives particular spaces, objects, and moments meaning. The 6 volume set of the Cultural History of Color examines how color has been created, traded, used, and interpreted over the last 5000 years. The themes covered in each volume are color philosophy and science; color technology and trade; power and identity; religion and ritual; body and clothing; language and psychology; literature and the performing arts; art; architecture and interiors; and artefacts. David Wharton is Associate Professor of Classical Studies at the University of North Carolina at Greensboro, USA. Volume 1 in the Cultural History of Color set. General Editors: Carole P. Biggam and Kirsten Wolf

Living Color is the first book to investigate the social history of skin color from prehistory to the present, showing how our body’s most visible trait influences our social interactions in profound and complex ways. In a fascinating and wide-ranging discussion, Nina G. Jablonski begins with the biology and evolution of skin pigmentation, explaining how skin color changed as humans moved around the globe. She explores the relationship between melanin pigment and sunlight, and examines the consequences of rapid migrations, vacations, and other lifestyle choices that can create mismatches between our skin color and our environment. Richly illustrated, this book explains why skin color has come to be a biological trait with great social meaning— a product of evolution perceived by culture. It considers how we form impressions of others, how we create and use stereotypes, how negative stereotypes about dark skin developed and have played out through history—including being a basis for the transatlantic slave trade. Offering examples of how attitudes about skin color differ in the U.S., Brazil, India, and South Africa, Jablonski suggests that a knowledge of the evolution and social importance of skin color can help eliminate color-based discrimination and racism.