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E-raamat: Designing with Color: Concepts and Applications

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  • Formaat: 384 pages
  • Ilmumisaeg: 01-Dec-2010
  • Kirjastus: Fairchild Books
  • Keel: eng
  • ISBN-13: 9781628921915
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Designing with Color: Concepts and ApplicationsSuurem pilt
  • Formaat: 384 pages
  • Ilmumisaeg: 01-Dec-2010
  • Kirjastus: Fairchild Books
  • Keel: eng
  • ISBN-13: 9781628921915
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This highly visual textbook/workbook takes an interactive approach to the study of colour and design, highlighting the elemental importance for designers to understand how colour is perceived, experienced, and manipulated in order to be used effectively in their designs.


This textbook/workbook trains students’ eyes to develop a visual understanding of color and the principles of design through guided observation and engaging activities. Lavishly illustrated with full-color graphics and photos, the book demonstrates how color and other design elements are combined in nature and the visual arts. Part One presents color, the most immediately noticeable element of design. Part Two integrates color with the other design elements and shows how they interact according to the principles of design. Students can apply their learning by completing a series of activities and record their work with photos for future reference.

Muu info

This highly visual textbook/workbook takes an interactive approach to the study of colour and design, highlighting the elemental importance for designers to understand how colour is perceived, experienced, and manipulated in order to be used effectively in their designs.
Preface xi
Acknowledgments xii
Introduction 1(5)
The Purpose of This Book
1(1)
How to Use This Book
1(1)
Learning through Activities
2(4)
Gathering Supplies
2(1)
Taking Photos
3(1)
Creating Your Own Color and Design Resource
3(3)
PART ONE COLOR
1 Local Color vs. Symbolic Color
6(16)
Vocabulary And Key Concepts
6(16)
Objective and Subjective Uses of Color
7(3)
How the Eye Sees Color
10(9)
Activities
19(3)
2 The Color Wheel
22(16)
Vocabulary And Key Concepts
22(16)
Primary Colors
22(2)
Subtractive Color
24(1)
Additive Color
24(1)
Secondary Colors
25(1)
Tertiary Colors
26(1)
The Structure of the Color Wheel
27(8)
Activities
35(3)
3 Value, Saturation, and Temperature
38(26)
Vocabulary And Key Concepts
38(26)
Value
39(3)
Value Creates Form
42(3)
Value Creates Composition and Focal Point
45(1)
Value Creates Mood
46(1)
Saturation
47(3)
Temperature
50(1)
Mixing Colors
51(10)
Activities
61(3)
4 Analogous Colors
64(14)
Vocabulary And Key Concepts
64(14)
Activities
75(3)
5 Complementary Colors
78(18)
Vocabulary And Key Concepts
78(18)
Vibrating Boundaries
78(2)
Desaturation
80(2)
Simultaneous Contrast
82(2)
Optical Mixing
84(9)
Activities
93(3)
6 Color Proportion
96(14)
Vocabulary And Key Concepts
96(14)
Dominant Colors
96(1)
Accent Colors
97(1)
Analogous Split-Complementary Palette
98(9)
Activities
107(3)
7 Light Temperature
110(14)
Vocabulary And Key Concepts
110(14)
Activities
121(3)
APPENDIX TO PART ONE Some Historical Background on the Theory and Practice of Color and Design
124(14)
Ancient Greece
124(1)
Rome and the Middle Ages
125(1)
The Renaissance
126(3)
The Science of Color
129(3)
Sir Isaac Newton
129(1)
J. C. Maxwell
129(1)
Michel Eugene Chevreul
130(1)
A Break with the Past
131(1)
Color-Matching Systems
132(6)
Albert Munsell
132(1)
Pantone
133(5)
PART TWO DESIGN
8 Two-Dimensional Space
138(14)
Vocabulary And Key Concepts
138(14)
Figure and Ground and the Picture Plane
139(1)
Cropping
140(9)
Activities
149(3)
9 Three-Dimensional Illusion
152(16)
Vocabulary And Key Concepts
152(2)
Ways to Create the Illusion of Deep Space
152(2)
Position on the Picture Plane
154(1)
Perspective: Diminishing Scale and Overlapping
154(1)
Use of Diagonals
154(1)
Atmospheric Perspective
154(1)
Dividing the Picture Plane into Three Zones
155(1)
Applying the Method of Creating Three-Dimensional Space
156(9)
Activities
165(3)
10 Three-Dimensional Form
168(16)
Vocabulary And Key Concepts
168(1)
Volume and Mass
168(2)
Texture and Surface Quality
170(1)
Designer's Use of Texture and Surface Quality
170(1)
Varieties of Surface Quality
170(11)
Activities
181(3)
11 Unity and Variety
184(12)
Vocabulary And Key Concepts
184(9)
Activities
193(3)
12 Emphasis
196(12)
Vocabulary And Key Concepts
196(12)
Contrasts
196(2)
Optical Center
198(6)
Areas of Emphasis
204(1)
Activities
205(3)
13 Balance
208(14)
Vocabulary And Key Concepts
208(14)
Balance and Symmetry
208(1)
Symmetry
209(1)
Near-Symmetry
209(1)
Radial Symmetry
209(1)
Asymmetry
210(1)
The Focal Point
210(1)
Central Focal Point
210(1)
Law of Thirds
210(1)
Golden Ratio
211(8)
Activities
219(3)
14 Movement
222(12)
Vocabulary And Key Concepts
222(12)
Activities
231(3)
15 Rhythm
234(16)
Vocabulary And Key Concepts
234(16)
Visual Rhythm
234(1)
Line Quality
234(13)
Activities
247(3)
16 Non-Focal Point Design
250(16)
Vocabulary And Key Concepts
250(16)
Ways to Create a Non-Focal Point Design
250(2)
Repitition
252(1)
Motif
252(1)
Tessellation
252(1)
Ambiguity
252(1)
Approaches to Positive and Negative Space
253(1)
Clear-cut Positive/Negative
253(1)
Positive/Negative Reversal
253(1)
Interspace
253(10)
Activities
263(3)
17 Message of Color and Shape
266(19)
Vocabulary And Key Concepts
266(19)
Creating Associations
268(1)
Calm
269(1)
Fear
269(1)
Power
269(9)
Font Associations
278(1)
Serif Typefaces
279(1)
Sans Serif
279(1)
Display
279(1)
Basic Font Variations and Considerations
279(2)
Activities
281(4)
Glossary 285(8)
Index 293
Chris Dorosz and J.R. Watson are both based at The Academy of Art University, San Francisco.
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