How Color Works: Color Theory in the Twenty-First Century propels students into engagement with color via critical and creative involvement. This interactive book describes how color contributes to meaning in specific masterful artworks (with large full-color illustrations), and encouragesstudents to produce color variations of their own in response. How Color Works approaches the aesthetics of color in contemporary terms and is relevant to both traditional and experimental approaches to art-making How Color Works seeks to demonstrate the importance of color in broad terms, and intends to be used by art students in all media who wish to expand their understanding of color and how it works artistically. In several respects, How Color Works presents color in more contemporary terms thancompeting texts. It describes relevant color science in current terms, where inquiries into subjective color experience and objective color space are not settled at all, but contested and argued. Digital color, an entirely new area of pursuit, is explored on an equal basis with aspects of printproduction and more traditional media.Where science is described, opposing theories and unanswered questions are presented. Furthermore, color and meaning are presented in culturally specific terms, encouraging students to appreciate the power of color to affect meaning based on specific social histories. Exploring lesser known colorcontributions in art and scholarship, How Color Works: Color Theory in the Twenty-First Century demonstrates that interest in color is alive and well, even in surprising corners of artistic production, and offers a course of immersion that will teach students with no prior experience how to createand use color in a sophisticated fashion.

This is the go-to guide for designers as it outlines and details the essential color design skills needed to create successful, meaningful, and aesthetically compelling designs. Along with hands-on projects, it offers unique insights into strategy and business when working in the real world with real clients. Color Works starts with basic information on color practices and fundamentals, and then delves more deeply into theory and application on a project-by-project basis. Illustrated with real-world projects and case studies, this book offers a behind-the-scenes take on the design process and the necessary steps to go from concept to final outcome, including the challenges encountered along the way.

Crafters can explore colors with confidence in a variety of mediums with the advice in this book. The principles of color theory are clearly and simply explained and applied to knitting, spinning, weaving, surface design (including stenciling and rubber stamping), hand and machine embroidery, beadwork, and paper collage. Basic color concepts are presented in sections on color description, values, contrasting and complementary colors, warm and cool colors, undertones, and using color relationships. A pull-out color wheel and handy color chips in perforated format that are easy to remove and use for planning, matching, and shopping for supplies are included.

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.

A Color Notation is a book written by Albert Henry Munsell, an American painter, teacher of art, and the inventor of the Munsell color system. Munsell color system is an early attempt at creating an accurate system for numerically describing colors. The Munsell color order system has gained international acceptance and has served as the foundation for many color order systems.

The unheard history of how race and racism are constructed from sound and maintained through the listening ear. Race is a visual phenomenon, the ability to see “difference.” At least that is what conventional wisdom has lead us to believe. Yet, The Sonic Color Line argues that American ideologies of white supremacy are just as dependent on what we hear—voices, musical taste, volume—as they are on skin color or hair texture. Reinforcing compelling new ideas about the relationship between race and sound with meticulous historical research, Jennifer Lynn Stoever helps us to better understand how sound and listening not only register the racial politics of our world, but actively produce them. Through analysis of the historical traces of sounds of African American performers, Stoever reveals a host of racialized aural representations operating at the level of the unseen—the sonic color line—and exposes the racialized listening practices she figures as “the listening ear.” Using an innovative multimedia archive spanning 100 years of American history (1845-1945) and several artistic genres—the slave narrative, opera, the novel, so-called “dialect stories,” folk and blues, early sound cinema, and radio drama—The Sonic Color Line explores how black thinkers conceived the cultural politics of listening at work during slavery, Reconstruction, and Jim Crow. By amplifying Harriet Jacobs, Frederick Douglass, Elizabeth Taylor Greenfield, Charles Chesnutt, The Fisk Jubilee Singers, Ann Petry, W.E.B. Du Bois, and Lena Horne as agents and theorists of sound, Stoever provides a new perspective on key canonical works in African American literary history. In the process, she radically revises the established historiography of sound studies. The Sonic Color Line sounds out how Americans have created, heard, and resisted “race,” so that we may hear our contemporary world differently.

Gift set includes Songs of Innocence, Songs of Experience, and The Marriage of Heaven and Hell.