简介
Summary:
Publisher Summary 1
James Gurney, New York Timesbest-selling author and artist of the Dinotopia series, follows Imaginative Realismwith his second art-instruction book, Color and Light: A Guide for the Realist Painter. A researched study on two of art's most fundamental themes, Color and Lightbridges the gap between abstract theory and practical knowledge. Beginning with a survey of underappreciated masters who perfected the use of color and light, the book examines how light reveals form, the properties of color and pigments, and the wide variety of atmospheric effects. Gurney cuts though the confusing and contradictory dogma about color, testing it in the light of science and observation. A glossary, pigment index, and bibliography complete what will ultimately become an indispensible tool for any artist.This book is the second in a series based on his blog, gurneyjourney.com. His first in the series, Imaginative Realism, was widely acclaimed in the fantastical art world, and was ranked the #1 Bestseller on the Amazon list for art instruction."James Gurney's new book, Color and Light, cleverly bridges the gap between artistic observation and scientific explanation. Not only does he eloquently describe all the effects of color and light an artist might encounter, but he thrills us with his striking paintings in the process." --Armand Cabrera, Artist
目录
Table Of Contents:
Introduction
Chapter 1 Tradition
Old Masters' Color 12(2)
The Academic Tradition 14(2)
Open-Air Painting in Britain 16(2)
The Hudson River School 18(2)
Plein-Air Movements 20(2)
Symbolist Dreams 22(2)
Magazine Illustration 24(4)
Chapter 2 Sources of Light
Direct Sunlight 28(2)
Overcast Light 30(2)
Window Light 32(2)
Candlelight and Firelight 34(2)
Indoor Electric Light 36(2)
Streetlights and Night Conditions 38(2)
Luminescence 40(2)
Hidden Light Sources 42(4)
Chapter 3 Light and Form
The Form Principle 46(2)
Separation of Light and Shadow 48(2)
Cast Shadows 50(2)
Half Shadow 52(2)
Occlusion Shadows 54(2)
Three-Quarter Lighting 56(2)
Frontal Lighting 58(2)
Edge Lighting 60(2)
Contre Jour 62(2)
Light from Below 64(2)
Reflected Light 66(2)
Spotlighting 68(2)
Limitations of the Form Principle 70(4)
Chapter 4 Elements of Color
Rethinking the Color Wheel 74(2)
Chroma and Value 76(2)
Local Color 78(2)
Grays and Neutrals 80(2)
The Green Problem 82(2)
Gradation 84(2)
Tints 86(4)
Chapter 5 Paint and Pigments
The Search for Pigments 90(2)
Charting Pigments 92(2)
Lightfastness 94(2)
Warm Underpainting 96(2)
Sky Panels 98(2)
Transparency and Glazing 100(2)
Palette Arrangements 102(2)
Limited Palettes 104(2)
The Mud Debate 106(4)
Chapter 6 Color Relationships
Monochromatic Schemes 110(2)
Warm And Cool 112(2)
Colored Light Interactions 114(2)
Triads 116(2)
Color Accent 118(4)
Chapter 7 Premixing
Mixing Color Strings 122(2)
Gamut Mapping 124(2)
Creating Gamut Masks 126(2)
Shapes Of Color Schemes 128(2)
Mixing A Controlled Gamut 130(2)
Color Scripting 132(4)
Chapter 8 Visual Perception
A World without Color 136(2)
Is Moonlight Blue? 138(2)
Edges And Depth 140(2)
Color Oppositions 142(2)
Color Constancy 144(2)
Adaptation And Contrast 146(2)
Appetizing And Healing Colors 148(4)
Chapter 9 Surfaces And Effects
Transmitted Light 152(2)
Subsurface Scattering 154(2)
Color Zones Of The Face 156(2)
The Hair Secret 158(2)
Caustics 160(2)
Specular Reflections 162(2)
Highlights 164(2)
Color Corona 166(2)
Motion Blur 168(2)
Photos vs. Observation 170(4)
Chapter 10 Atmospheric Effects
Sky Blue 174(2)
Atmospheric Perspective 176(2)
Reverse Atmospheric Perspective 178(2)
Golden Hour Lighting 180(2)
Sunsets 182(2)
Fog, Mist, Smoke, Dust 184(2)
Rainbows 186(2)
Skyholes And Foliage 188(2)
Sunbeams And Shadowbeams 190(2)
Dappled Light 192(2)
Cloud Shadows 194(2)
Illuminated Foreground 196(2)
Snow And Ice 198(2)
Water: Reflection And Transparency 200(2)
Mountain Streams 202(2)
Color Underwater 204(4)
Chapter 11 Light's Changing Show
Serial Painting 208(2)
At the End of the Day 210(4)
Chapter 12 Resources
Glossary 214(4)
Pigment Information 218(2)
Recommended Reading 220(2)
Acknowledgments 222(1)
Index 222
Introduction
Chapter 1 Tradition
Old Masters' Color 12(2)
The Academic Tradition 14(2)
Open-Air Painting in Britain 16(2)
The Hudson River School 18(2)
Plein-Air Movements 20(2)
Symbolist Dreams 22(2)
Magazine Illustration 24(4)
Chapter 2 Sources of Light
Direct Sunlight 28(2)
Overcast Light 30(2)
Window Light 32(2)
Candlelight and Firelight 34(2)
Indoor Electric Light 36(2)
Streetlights and Night Conditions 38(2)
Luminescence 40(2)
Hidden Light Sources 42(4)
Chapter 3 Light and Form
The Form Principle 46(2)
Separation of Light and Shadow 48(2)
Cast Shadows 50(2)
Half Shadow 52(2)
Occlusion Shadows 54(2)
Three-Quarter Lighting 56(2)
Frontal Lighting 58(2)
Edge Lighting 60(2)
Contre Jour 62(2)
Light from Below 64(2)
Reflected Light 66(2)
Spotlighting 68(2)
Limitations of the Form Principle 70(4)
Chapter 4 Elements of Color
Rethinking the Color Wheel 74(2)
Chroma and Value 76(2)
Local Color 78(2)
Grays and Neutrals 80(2)
The Green Problem 82(2)
Gradation 84(2)
Tints 86(4)
Chapter 5 Paint and Pigments
The Search for Pigments 90(2)
Charting Pigments 92(2)
Lightfastness 94(2)
Warm Underpainting 96(2)
Sky Panels 98(2)
Transparency and Glazing 100(2)
Palette Arrangements 102(2)
Limited Palettes 104(2)
The Mud Debate 106(4)
Chapter 6 Color Relationships
Monochromatic Schemes 110(2)
Warm And Cool 112(2)
Colored Light Interactions 114(2)
Triads 116(2)
Color Accent 118(4)
Chapter 7 Premixing
Mixing Color Strings 122(2)
Gamut Mapping 124(2)
Creating Gamut Masks 126(2)
Shapes Of Color Schemes 128(2)
Mixing A Controlled Gamut 130(2)
Color Scripting 132(4)
Chapter 8 Visual Perception
A World without Color 136(2)
Is Moonlight Blue? 138(2)
Edges And Depth 140(2)
Color Oppositions 142(2)
Color Constancy 144(2)
Adaptation And Contrast 146(2)
Appetizing And Healing Colors 148(4)
Chapter 9 Surfaces And Effects
Transmitted Light 152(2)
Subsurface Scattering 154(2)
Color Zones Of The Face 156(2)
The Hair Secret 158(2)
Caustics 160(2)
Specular Reflections 162(2)
Highlights 164(2)
Color Corona 166(2)
Motion Blur 168(2)
Photos vs. Observation 170(4)
Chapter 10 Atmospheric Effects
Sky Blue 174(2)
Atmospheric Perspective 176(2)
Reverse Atmospheric Perspective 178(2)
Golden Hour Lighting 180(2)
Sunsets 182(2)
Fog, Mist, Smoke, Dust 184(2)
Rainbows 186(2)
Skyholes And Foliage 188(2)
Sunbeams And Shadowbeams 190(2)
Dappled Light 192(2)
Cloud Shadows 194(2)
Illuminated Foreground 196(2)
Snow And Ice 198(2)
Water: Reflection And Transparency 200(2)
Mountain Streams 202(2)
Color Underwater 204(4)
Chapter 11 Light's Changing Show
Serial Painting 208(2)
At the End of the Day 210(4)
Chapter 12 Resources
Glossary 214(4)
Pigment Information 218(2)
Recommended Reading 220(2)
Acknowledgments 222(1)
Index 222
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