![]() #Four color drips in a circle manualThis book will serve as both a manual of self-guided study as well as a handbook for directed study under the guidance and oversight of an experienced artist. #Four color drips in a circle professionalThe experience of color that each student engages in through the exercises documented in this course of study provides a solid grounding for professional activity in all visual fields. This democratic sensibility makes the work comfortable for students in widely varying disciplines. One of the many strengths of his pedagogical approach is that it is flexible enough to allow for, in fact to encourage, explorations through a broad range of visual structures. I have been fortunate on a number of occasions to visit David Hornung’s color classes at the Rhode Island School of Design, to sit in on critiques of student work, and to look closely at student portfolios from those classes. From semantic misunderstandings or misreadings arise many of the problems associated with color study, but here the student will find a rigorous yet streamlined analysis of that language designed to avoid just such misinterpretations. Color language is quite specific and efficient, and Hornung is careful to define and to illustrate the terms we commonly use to describe characteristics or aspects of color and color usage. Rather, they develop confidence in working expressively with color through a dedicated and disciplined practice experienced at the tip of a brush or pen or pencil, through cut or torn collage elements, or via pixilated images on a computer monitor. He recognizes from his own studio career that colorists don’t spring to life with some fully formed capacity to compose color and to communicate with it. ![]() He wisely avoids the tendency of color theorists to systematize color and opts for a hands-on experience that is both practical and logical. David Hornung has brought his long experience as a visual artist to the task of demystifying the phenomenon we call color and making it accessible to the art and design student. Because it is a function of light, however, and because light is highly variable, color is one of the most elusive and enigmatic elements for the artist and designer to master. P R E FAC E One would think that a condition of the physical world as omnipresent as color would be easy to understand. Finally, I want to express my gratitude to all of my color students who, over the years, have provided me with an education. Lozana Rosenova deserves special acknowledgment for her steadfast and able assistance in putting this book together from beginning to end. I am grateful to my colleague Jennifer Maloney, who gave the entire text a close and critical reading. Thanks also to my reviewers, whose critical insights on the first edition helped me make many improvements in the second. I would also like to thank Robert Shore, who edited both editions Simon Walsh, production manager, for insuring that the color throughout the book is as good as it can be and Ida Riveros, picture editor, who procured the images I needed from outside sources to illustrate the text. As it was nearing completion Sarah Batten took over the reigns and helped shepherd the project into production. I would also like to recognize the contribution of Kara Hattersley-Smith, editorial manager at Laurence King, who organized the project from its inception and whose assistance and patience were essential to the book’s progress. Foremost, I want to thank Laurence King for initially encouraging me to write a second edition, and for allowing me the freedom to make all the improvements I felt were necessary. I L L U S T R AT E D G L O S S A R Y BIBLIOGR APHY CREDITS INDEXĪCK N OW LEDGM EN TS In creating this second edition of Color, I have drawn on the support and encouragement of many friends and colleagues. PART NINE: COLOR EXPERIENCE AND INTERPRETATION ![]() A catalogue record for this book is available from the British Library ISBN: 978-1-85669-878-8 Commissioning Editor: Kara Hattersley-Smith Editor: Sarah Batten Picture Researcher: Ida Riveros Design by David Hornung Cover design by Jason Ribeiro Layout production assistance by Lozana Rosenova Printed in ChinaĪCKNOWLEDGMENTS PREFACE: MICHAEL JAMES FOREWORD: LYDIA NEUMAN INTRODUCTION No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage and retrieval system, without prior permission in writing from the publisher. ![]() A workshop for artists and designers Second Editionįirst published in 2005 Second edition published in 2012 by Laurence King Publishing Ltd 4th Floor, 361–373 City Road London EC1V 1LR Tel: +44 20 7841 6900 Fax: +44 20 7841 6910 email: Copyright © 2005, 2012 Laurence King Publishing Ltd This book was produced by Laurence King Publishing Ltd All rights reserved. ![]()
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