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A beautifully illustrated history of the many inventive, poetic, and alluring ways in which color swatches have been selected and staged The need to categorize and communicate color has mobilized practitioners and scholars for centuries. Color Charts describes the many different methods and ingenious devices developed since the fifteenth century by doctors, naturalists, dyers, and painters to catalog fragments of colors. With the advent of industrial society, manufacturers and merchants developed some of the most beautiful and varied tools ever designed to present all the available colors. Thanks to them, society has discovered the abundance of color embodied in a plethora of materials: cuts of fabric, leather, paper, and rubber; slats of wood and linoleum; delicate skeins of silk; careful deposits of paint and pastels; fragments of lipstick; and arrangements of flower petals. These samples shape a visual culture and a chromatic vocabulary and instill a deep desire for color. Anne Varichon traces the emergence of modern color charts from a set of processes developed over the centuries in various contexts. She presents illuminating examples that bring this remarkable story to life, from ancient writings revealing attention to precise shade to contemporary designers’ color charts, dyers’ notebooks, and Werner’s famous color nomenclature. Varichon argues that color charts have linked generations of artists, artisans, scientists, industrialists, and merchants, and have played an essential and enduring role in the way societies think about color. Drawing on nearly two hundred documents from public and private collections, almost all of them previously unpublished, this wonderfully illustrated book shows how the color chart, in its many distinct forms and expressions, is a practical tool that has transcended its original purpose to become an educational aid and subject of contemplation worthy of being studied and admired.
"Through the visual evidence of over six hundred radiant color photographs, supplemented by watercolor sketches and color synthesis charts, the Lencloses explain their system and provide a pertinent and objective comparison of assorted chromatic microcosms worldwide, as well as a fascinating look at the infinite diversity with which color expresses itself. From the delicate tones of bamboo roofs in Japan to the tangy-hued house facades created from mineral pigments in African soils, Colors of the World offers a visually alluring survey of the significant chromatic personalities within local geographies, histories, and traditions in countries around the world."--BOOK JACKET.
A colorful array of energy emanates from all beings. Pamala Oslie offers a guide to these aura colors and how they correspond to the four main personality types. The subject of auras has been around for years, but it has seldom been explained in such an accessible, believable way.There are four overall types of personalities: Physical (red, orange, magenta, yellow), Mental (tan, green), Emotional (blue, violet, lavender, crystal, indigo), and Combination (a combination of two of the colors). There are also 12 combination colors described in the book. Life Colors offers a questionnaire to determine your own color and tips to help readers assess the colors in others. Sections describe relationships with various color combinations and provide suggestions for relating to your children, spouse, friends, and coworkers based on their color.
An explosive and awakening novel of characters galore, both real and imaginative. Troupers who weave in and out of this hard fiction as if each one is playing musical chairs. In these players's minds, the winning seat has been pre-arranged wtih his or her name, and the song halted suddenly only to announce this. Characters Colors 'N' Cash is like a clown spinning out of control on life's merry-g-round, faster than sound- like sour grapes on life's clocked interim. This human-clown is Hawk, Earthman, and Casey, who are really the same person, depending on which one of his friends (over many years) may be addressing him at the moment. But the conscious, which is Littleman in the boat, is alive in all three people, and my force the reader to wonder how far the director might go, if this conscious did not exist. When friends who greet this man with different nicknames, past and present, come together to face a common enemy, they all must test their own consciousness, as well as their grit, with a razors edge line, which separates only their reason for living, from their attempt to avoid sudden death.
The first comprehensive account of how and why architects learned to communicate through color Architectural drawings of the Italian Renaissance were largely devoid of color, but from the seventeenth century through the nineteenth, polychromy in architectural representation grew and flourished. Basile Baudez argues that colors appeared on paper when architects adapted the pictorial tools of imitation, cartographers' natural signs, military engineers' conventions, and, finally, painters' affective goals in an attempt to communicate with a broad public. Inessential Colors traces the use of color in European architectural drawings and prints, revealing how this phenomenon reflected the professional anxieties of an emerging professional practice that was simultaneously art and science. Traversing national borders, the book addresses color as a key player in the long history of rivalry and exchange between European traditions in architectural representation and practice. Featuring a wealth of previously unpublished drawings, Inessential Colors challenges the long-standing misreading of architectural drawings as illustrations rather than representations, pointing instead to their inherent qualities as independent objects whose beauty paved the way for the visual system architects use today.
Landscapes in Oil is the first-ever comprehensive guide to classical landscape painting reinterpreted for the twenty-first century. Drawing from the tradition established by American painters of the Hudson River School--artists like Thomas Cole, Frederic Church, and George Inness--author and painter Ken Salaz reveals great masters' philosophy and methods, updating their approaches for the contemporary landscape painter. Beginning painters are given the basic tools and step-by-step demonstrations, intermediate painters are challenged with unpublished techniques that allow them to break through to the next level, and advanced painters learn to apply their skills under unified theories. Landscapes in Oil devotes a chapter to each of the fundamental elements of landscape painting--drawing, value, color, composition, and light quality--and offers critical advice on selecting tools and materials, choosing colors, and structuring your palette for best results. Emphasizing the necessity of plein air drawing and painting, Salaz demonstrates how to translate small, quick studies made outdoors into full-scale studio paintings. He provides detailed step-by-step breakdowns of the creation of four of his own paintings, focusing not only on application but also on the ideas that underpin every decision a landscape painter must make. The scores of landscape masterworks, past and present, that illustrate this book have been carefully chosen for their aesthetic power and because each embodies a specific aspect of the landscape painter's craft. For Salaz, landscape painting is a noble pursuit, and the goal of the landscape artist is not to paint "pretty pictures" but to create compelling images that express human beings' profound connection to nature in all its diversity and grandeur. At a time when classical landscape is enjoying a renaissance in art schools, ateliers, and galleries across North America, this book is an essential resource for beginning and experienced painters alike.
First demonstrated in 1928, color television remained little more than a novelty for decades as the industry struggled with the considerable technical, regulatory, commercial, and cultural complications posed by the medium. Only fully adopted by all three networks in the 1960s, color television was imagined as a new way of seeing that was distinct from both monochrome television and other forms of color media. It also inspired compelling popular, scientific, and industry conversations about the use and meaning of color and its effects on emotions, vision, and desire. In Bright Signals Susan Murray traces these wide-ranging debates within and beyond the television industry, positioning the story of color television, which was replete with false starts, failure, and ingenuity, as central to the broader history of twentieth-century visual culture. In so doing, she shows how color television disrupted and reframed the very idea of television while it simultaneously revealed the tensions about technology's relationship to consumerism, human sight, and the natural world.