Zwimpfer, M. 1988, Color Light Sight Sense, Schiffer Publishing Ltd, West Chester, Pennsylvania.

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1 BOOKS ABOUT COLOUR Paul Green-Armytage 2008 These lists are from my EndNote database. 1. BOOKLIST FOR CURTIN DEPARTMENT OF DESIGN UNIT DESIGN COLOUR AND TEXTURE 192 Design students, in my experience, are reluctant readers; they need to be seduced by pictures. This has influenced my choice of the books that are listed for reference. Zwimpfer, M. 1988, Color Light Sight Sense, Schiffer Publishing Ltd, West Chester, Pennsylvania. Color Light Sight Sense, by Moritz Zwimpfer, was written specifically to answer the kinds of questions that arise during a program of colour exercises for students of art and design. Zwimpfer knows his students well and relies heavily on pictures to explain things. Zwimpfer s accounts of the physics, physiology and psychology of colour are simple and clear and adequate to satisfy basic curiosity. He also illustrates some examples of the roles played by colour in nature and culture and he explains something of the technology of colour reproduction in photography, television and printing. Kuehni, R. 1997, Color - An Introduction to Practice and Principles, John Wiley & Sons, Inc., New York. Color An Introduction to Practice and Principles, by Rolf Kuehni, is a book for more serious students. Kuehni expresses the hope that his book could serve as a stepping stone to more in-depth studies. Swirnoff, L Dimensional Color. W.W. Norton & Company, New York. Dimensional Color, by Lois Swirnoff, describes and illustrates the investigations carried out by Swirnoff and her students. The exercises could form the basis of a colour curriculum. but that is not why the book is included in the list. The book is inspirational in that it shows what a rigorous program of visual research can look like. Kobayashi, S. 1998, Colorist, Kodansha International, Tokyo. Colorist, by Shigenobu Kobayashi, is a very attractive and inexpensive paperback which deals with the ways in which colours, colour combinations, textures, patterns, objects, and scenes communicate particular images. Some of our exercises are based on Kobayashi s ideas but I prefer that students do not buy the book until after the course since the book contains what could be seen as answers to questions that we explore. In effect we are testing Kobayashi s ideas to see if they are valid in Australia as they are in Japan. 1

2 Farrant, P. 1999, Colour in Nature, Blandford, London. Colour In Nature, by Penelope Farrant, is a large format paperback, superbly illustrated, which deals with colours in the natural world. For Farrant, the natural world includes stars, planets, clouds, rainbows and rocks as well as all the varieties of flora and fauna. The book includes explanations of the various phenomena in terms of simple physics and chemistry, but more relevant for designers are the reasons why things are the colours they are. By showing what roles colours can play in the natural world the book can be read as a guide to how colours could be used in the cultural world. Lenclos, J. P. 1989, The Geography of Color, San'ei Shobo Publishing Co., Tokyo. The Geography of Colour, by Jean Philippe Lenclos, describes and illustrates the work of an outstanding colour designer. Lenclos is well known for his analyses of the colours that belong to particular places and many of these are included in this book. In addition there are examples of his work in product, graphic, packaging, and interior design as well as colour schemes for large scale industrial installations and housing complexes. Smedal, G. 2001, Longyearbyen in Colour - Status and Challenges, Eide Forlag, Norway. Longyearbyen in Colour Status and Challenges, by Grete Smedal, documents a remarkable project where a single designer had responsibility for developing a colour scheme for an entire town. Longyearbyen is a mining town in the Spitsbergen archipelago half way between the northern tip of Norway and the North Pole. The book shows the stark but spectacular mountain landscape around the town and the buildings before and after they were painted according to Smedal s scheme. Smedal also explains how she tackled the project, her reasons for choosing the colours she did, and how she used the NCS colour system as a design tool. 2. BOOKS THAT I ENJOYED and/or REFER TO AS AUTHORITATIVE Batchelor, D. 2000, Chromophobia, Reaktion Books, London. Berlin, B. & Kay, P. 1991/1969, Basic Color Terms, University of California Press, Berkeley and Los Angeles. Berns, R. 2000, Billmeyer and Saltzman's Principles of Color Technology, 3 edn, John Wiley & Sons, New York. Finlay, V Colour Travels through the Paintbox. Sceptre (Hodder & Stoughton), London Gage, J. 1993, Colour and Culture, Thames and Hudson, London. Garfield, S Mauve. Faber & Faber, London. 2

3 Hård, A. & Sivik, L. 1981, NCS - Natural Color System: A Swedish Standard for Color Notation, Color Research and Application, vol. 6, no. 3, pp Hardin, C. L. 1988/1993, Color for Philosophers, Expanded edn, Hackett Publishing Company, Indianapolis. Hardin, C. L. & Maffi, L. 1997, Color Categories in Thought and Language, Cambridge University Press, Cambridge, pp Hering, E. 1964/1920, Outlines of a Theory of the Light Sense, Harvard University Press, Cambridge, Massachusetts. Katz, D. 1935/1911, The World of Colour, Kegan Paul, Trench, Trubner and Co. Ltd., London. Kemp, M. 1990, The Science of Art, Yale University Press, New Haven. Lenclos, J-P. & Lenclos, D Colors of the World: A Geography of Color. W.W. Norton, New York. Livingstone, M Vision and Art. Harry N. Abrams, Inc. New York Jarman, D. 1995, Chroma, Vintage, London. Osborne, R. 1990, Teaching Colour, The Artist, April, pp Ruskin, J. 1991/1857, The Elements of Drawing, The Herbert Press, London. Sherman, P Colour Vision in the Nineteenth Century. Adam Hilger Ltd., Bristol. Wright, W. D. 1967, The Rays are not Coloured, Adam Hilger, London. 3. BOOKS THAT HAVE BEEN PARTICULARLY INFLUENTIAL in ART and DESIGN (But containing some material which I regard as misleading); Albers, J. 1975, Interaction of Color, Revised edn, Yale University Press, New Haven. Arnheim, R. 1974, Art and Visual Perception, The New Version edn, University of California Press, Berkeley and Los Angeles. Chevreul, M. E. 1967/1839, The Principles of Harmony and Contrast of Colors and their Application in the Arts, Reinhold Publishing Corporation, New York. Goethe, J. 1970/1810, Theory of Colours, The M.I.T. Press, Cambridge, Massachusetts. Itten, J. 1961, The Art of Color, Van Nostrand Reinhold, New York. Itten, J. 1970, The Elements of Color, Van Nostrand Reinhold Company, New York. 3

4 4. OTHER BOOKS/ARTICLES WORTH LOOKING AT: Agoston, G. 1987, Color Theory and Its Application in Art and Design, 2 edn, Springer- Verlag, Berlin. Ball, P. 2002, Bright Earth, Penguin Books, London. Billger, M. 1999, Colour in Enclosed Space, Doctoral Dissertation, Chalmers University of Technology, Gothenburg. Caivano, J. 1991, Cesia: A System of visual Signs Complementing Color, Color Research and Application, vol. 16, no. 4, pp Cugley, J. & Green-Armytage, P. 2000, Palette of Place, in Habitus 2000 a sense of place, ed. Stephens, J., Curtin University of Technology, Perth. Da Pos, O. and Green-Armytage, P Colour and Facial Expressions of Emotion. Colour Design and Creativity 1 (1). Evans, R. 1948, An Introduction to Color, John Wiley & Sons, New York. Evans, R The Perception of Color. John Wiley and Sons, New York. Favre, J.-P. 1969, Color sells your Package, ABC Verlag, Zurich. Fisher, V. & James, C Color in Art A Tribute to Arthur Pope. Fogg Art Museum, Harvard University, Cambridge, Massachusetts,. Fridell Anter, K. 2000, What Colour is the Red House?, Doctoral Dissertation, Royal Institute of Technology, Stockholm. Gage, J. 1999, Colour and Meaning, Thames and Hudson, London. Gage, J Colour in Art. Thames & Hudson, London. Gerritsen, F. 1975, Theory and Practice of Color, Studio Vista, London. Gerstner, K. 1986, The Forms of Color, The MIT Press, Cambridge, Massachusetts. Goldsworthy, A. 1990, Andy Goldsworthy, Viking, London. Green-Armytage, P. 1995, Primary Confusion, in Aspects of Colour, eds. Arnkil, H. & Hämäläinen, E., The University of Art and Design Helsinki UIAH, Helsinki. Green-Armytage, P. 1996, Complementary Colours - Description or Evaluation? in Colour and Psychology, ed. Sivik, L., Scandinavian Colour Institute, Stockholm, pp Green-Armytage, P. 2001, Colour Questions: What? Where? Who? When? Why? How?, Spectrum, Journal of the Colour Society of Australia 15 (1) Hårleman, M. 2001, Colour Appearance in Different Compass Orientations, Nordic Journal of Architectural Research, vol. 14, no. 2, pp

5 Heron, P The Shape of Colour. Studio International Journal of Modern Art. 187 (963). Humphrey, N. 1976, The Colour Currency of Nature, in Colour for Architecture, eds. Porter, T. and Mikellides, B. Studio Vista, London. Hurvich, L. 1981, Color Vision, Sinauer Associates Inc., Sunderland, Massachusetts. Jacobsen, E Basic Color. Paul Theobald, Chicago. Kaiser, P. & Boynton, R. 1996, Human Color Vision, 2 edn, Optical Society of America, Washington. Kandinsky, W. 1977/1910. Concerning the Spiritual in Art. Dover Publications, Inc. New York. Kobayashi, S. 1981, The Aim and Method of the Color Image Scale, Color Research and Application, vol. 6, no. 2, pp Kobayashi, S. 1987, A Book of Colors, Kodansha International, Tokyo. Kuehni, R. 2003, Color Space and Its Divisions, John Wiley & Sons, Inc., Hoboken, New Jersey. Linton, H Color Consulting. Van Nostrand Reinhold, New York. Linton, H Color Forecasting. Van Nostrand Reinhold, New York. MacAdam, D. 1970, Sources of Color Science, The MIT Press, Cambridge, Massachusetts. Mahnke, F Color, Environment, and Human Response. John Wiley & Sons, New York. Matisse, H. 1978, Notes of a Painter, in Matisse on Art, ed. Flam, J., Phaidon, Oxford. Maund, B. 1995, Colours - Their Nature and Representation, Cambridge University Press, Cambridge. Maund, B. 2001, The Pluralist Framework for Colours, in AIC The Ninth Congress of the International Colour Association, eds. Chung, R. & Rodrigues, A., SPIE - the International Society for Optical Engineering, Rochester, New York. McGinley, P. 2001, The Development of a Large Colour Range for a Paint Company, in AIC The Ninth Congress of the International Colour Association, eds. Chung, R. & Rodrigues, A., SPIE - the International Society for Optical Engineering, Rochester, New York Mollon, J. 1995, Seeing Colour, in Colour: Art & Science, eds. Lamb, T. & Bourriau, J., Cambridge University Press, Cambridge, pp Munsell, A. 1992, A Color Notation, 17 edn, Munsell Color Company, Newburgh, New York. Nassau, K Color for Science, Art and Technology. Elsevier, Amsterdam. Nemcsics, A Colour Dynamics Environmental Colour Design. Akadmai Kiado, Budapest. Osborne, R Colour Influencing Form. Thylesius Books, London. 5

6 Parker, A In the Blink of an Eye. Free Press, London Porter, T. and Mikellides, B. 1976, Colour for Architecture, Studio Vista, London. Riley, C. 1995, Color Codes, University Press of New England, Hanover and London. Spillmann, W. 1985, Color Order Systems and Architectural Color Design, Color Research and Application, vol. 10, no. 1, pp Stern, A. 1988, How to See Color and Paint It, Watson-Guptill Publications, New York Varley, H. 1980, Colour, Mitchell Beazley Artists House, London. Vernon, M. D. 1971, The Psychology of Perception, 2 edn, Penguin Books, Harmondsworth, Middlesex. Wittgenstein, L. 1977/1951. Remarks on Colour. Basil Blackwell, Oxford. Wong, W. 1997, Principles of Color Design, Van Nostrand Reinhold, New York. 6