Acknowledgements
List of Illustrations
Introduction
1. Color as Theory
The Seventeenth and Eighteenth Centuries: Context for Discovery
Early Theorists
Charting Color
Newton and the Significance of Light
Color Separation
The Nineteenth Century
Goethe and the
Subjective Experience of Colors
Systemizing Color
The Appearance of Color
The Influence of Eugène Delacroix's Color Theories
Breakthroughs in Color Science
Maxwell's Triangle
Hering's Opponent Process Theory
New Interest in Perception
Modern Color Theory
The
Munsell System
Color Theory at the Bauhaus
Josef Albers and Pragmatic Color
New Processes, Theories, and Systems
2. Defining Color
Terminology
Light
Surface Characteristics
Perception
The Eye
The Brain
Mapping Perception
Color Systems
Additive
Color
Subtractive Color
Partitive Color
Primary Colors
Secondary and Tertiary Colors
The Three Attributes of Color
Hue
Value
Saturation
Tint, Shade, and Tone
Complementary Colors
Contrast Effects
Afterimage
Other Color Properties
Optical
Weight
Color Temperature
3. Sources of Color
Classification
Synthetic Color
Toxicity
Vehicles and Support
Dye
Ink
Paint
Glaze
Colorant Characteristics
Harnessing Light
Color Photography
Color in Film
Digital Color
Atmospheric
Color
4. Colors in Combination
Making Colors
Direct Mixing
Indirect Mixing
Optical Mixture
Glazing
Color and Compositional Organization
Movement
Depth
Volume
Contrast and Harmony
Types of Contrast
Types of Harmony
5. Colors and Ideas
Is
Color a Language?
Color Traditions
Color as Figure
Connotations of Color
Synesthesia
Color and Freedom
Material Color
Colors at Play
Black
White
Gray
Green
Yellow
Orange
Red
Magenta
Violet
Blue
Brown
Contested
Color
Bibliography
Glossary
Index
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Pamela Fraser is Assistant Professor of Studio Art at the University of Vermont.
