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<p>Preface XIII</p> <p>Acknowledgments XV</p> <p><b>Chapter 1 An Introduction to Color Study</b></p> <p>The Experience of Color 1</p> <p>Color Awareness 3</p> <p>The Uses of Color 6</p> <p>Color- Order Systems 9</p> <p>Color Study 13</p> <p><b>Chapter 2 A Little Light on the Subject</b></p> <p>Light 16</p> <p>Additive Color: Mixing Light 19</p> <p>Lamps 20</p> <p>Lamp Types 22</p> <p>Special Purpose Lamps 25</p> <p>False Promise: Full- Spectrum Lighting 26</p> <p>Lighting Level 26</p> <p>Vision 27</p> <p>The Illuminant Mode of Vision 27</p> <p>The Object Mode of Vision 28</p> <p>Modifying Light: Colorants 28</p> <p>Lamps and Color Rendition 31</p> <p>The Color Rendering Index 32</p> <p>Metamerism and Matching 32</p> <p>Modifying Light: Surface 33</p> <p>Transparent, Opaque, and Translucent 36</p> <p>Iridescence 37</p> <p>Luminosity 38</p> <p>Indirect Light, Indirect Color 38</p> <p>Filters 40</p> <p><b>Chapter 3 The Human Element</b></p> <p>The Sensation of Color 43</p> <p>Threshold 44</p> <p>Intervals 45</p> <p>The Perception of Color 48</p> <p>Physiology: Responding to Light 50</p> <p>Healing and Color 53</p> <p>Synaesthesia 53</p> <p>Psychology: Responding to Light 54</p> <p>Naming Colors 55</p> <p>Color As Language: From Name to Meaning 56</p> <p>Impressional Color 60</p> <p>Color As Words Alone 61</p> <p><b>Chapter 4 The Vocabulary of Color</b></p> <p>Hue 64</p> <p>The Artists’ Spectrum 66</p> <p>Primary, Secondary, and Intermediate Colors 67</p> <p>Saturated Color 68</p> <p>Other Spectrums, Other Primaries 68</p> <p>Chromatic Scales 70</p> <p>Complementary Colors 70</p> <p>Cool and Warm Colors 72</p> <p>Analogous Colors 73</p> <p>Tertiary Colors: Chromatic Neutrals 74</p> <p>Black, White, and Gray 75</p> <p>Value 75</p> <p>Pure Hues and Value 76</p> <p>Tints and Shades 76</p> <p>Monochromatic Value Scales 77</p> <p>Comparing Value in Different Hues 79</p> <p>Line 80</p> <p>Value and Image 80</p> <p>Transposing Image 82</p> <p>Saturation 83</p> <p>Saturation: Diluting Hues with Gray 85</p> <p>Saturation: Diluting Hues with the Complement 86</p> <p>Theoretical Gray 87</p> <p>Tone 89</p> <p><b>Chapter 5 The Instability of Colors</b></p> <p>The Instability of Colors 91</p> <p>Color Composition 92</p> <p>Ground and Carried Colors 93</p> <p>Placement and Color Change 95</p> <p>Equilibrium 95</p> <p>Simultaneous Contrast 96</p> <p>Afterimage and Contrast Reversal 98</p> <p>Complementary Contrast 100</p> <p>Ground Subtraction 102</p> <p>Color and Area: Small, Medium, Large 106</p> <p><b>Chapter 6 Illusion and Impression</b></p> <p>Color Illusions 108</p> <p>The Illusion of Depth 108</p> <p>Spatial Effects of Colors 111</p> <p>Transparence Illusion 115</p> <p>Fluting 117</p> <p>Vibration 118</p> <p>Vanishing Boundaries 120</p> <p>Luminosity 120</p> <p>Bezold Effect 122</p> <p>Optical Mixes 122</p> <p><b>Chapter 7 Color Theory: A Brief History</b></p> <p>Setting the Stage 126</p> <p>The Beginnings of Color Theory 127</p> <p>Color and Controversy 132</p> <p>The Scientific Model: Color Gets Organized 134</p> <p>Color by the Numbers 138</p> <p>A New Perspective 141</p> <p><b>Chapter 8 Color Harmony</b></p> <p>In Search of Beauty 145</p> <p>Intervals and Harmony 147</p> <p>Hue and Harmony 149</p> <p>Major and Minor Themes 150</p> <p>Value and Harmony 151</p> <p>Saturation and Harmony 153</p> <p>On Beyond Harmony: Dissonant Colors 156</p> <p>The X- tra Factor: Surface and Harmony 157</p> <p>Some Harmonious Conclusions 159</p> <p><b>Chapter 9 Tools of the Trade: Color in Product and Print</b></p> <p>It’s the Real Thing: Color in Product and Print 162</p> <p>Design Media 166</p> <p>Artists’ Media 166</p> <p>Subtractive Mixing: Pure Hues 169</p> <p>Subtractive Mixing: Muted Hues 171</p> <p>Tinting Strength 172</p> <p>Color Printing: Process Colors 172</p> <p>Color Printing: Spot Colors 176</p> <p>Screen and Block Printing 177</p> <p><b>Chapter 10 The Medium of Light</b></p> <p>Images of Light 180</p> <p>Lost in Translation 181</p> <p>The Screen Display 183</p> <p>Color Display Modes 186</p> <p>Color Management 189</p> <p>Color on the Web 195</p> <p>Web Color Coding 197</p> <p>Emerging Media: E- Ink 201</p> <p><b>Chapter 11 The Business of Color</b></p> <p>The Color Industries 204</p> <p>Colorants 205</p> <p>Color Sampling 205</p> <p>Color Forecasting 206</p> <p>Color Consulting 208</p> <p>Color and Product Identity 209</p> <p>Palettes 211</p> <p>Traditional Colors, Document Colors 212</p> <p>Palettes and the Past 214</p> <p>Color Becomes Fashion 215</p> <p>Color Cycles: A Modern History 216</p> <p>Today and Tomorrow 218</p> <p>Glossary 221</p> <p>Bibliography 237</p> <p>Index 243</p>

<p><b>LINDA HOLTZSCHUE</b> is principal at Linda Holtzschue and Associates, an interior design firm based in New York City. She taught color theory and related courses at the Fashion Institute of Technology and Parsons School of Design, where she served as Assistant Dean. Her work has appeared in <i>New York Times Magazine</i> and<i> Better Homes and Gardens.</i>

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