MARC Record from marc_uic

LEADER: 05696cam a2200505Ia 4500
001 9932897812005897
005 20200409121626.0
008 810511t19801963nyuaf 001 0 eng d
010 $a79057209
015 $aGB81-17149
019 $a10084536$a16558747
020 $a0442239416
020 $a9780442239411
035 $a54025-01carli_network
035 $a(OCoLC)ocm07407744$z(OCoLC)10084536$z(OCoLC)16558747
035 $a(EIUdb)199901
035 $a(EXLNZ-01CARLI_NETWORK)991002836699705816
040 $aVXI$beng$cVXI$dOCL$dDAC$dICZ$dOCLCQ$dMNY$dBAKER$dYDXCP$dAU@$dUKM$dMUQ$dTOH$dOCLCQ$dEEK$dOCLCF$dOCLCQ$dEIUdb
049 $aIADA
050 4 $aND1280$b.E48 1980
082 04 $a752$bE 46
090 $aND1280$b.E48 1980$9LOCAL
100 1 $aEllinger, Richard G.$q(Richard Gordon)
245 10 $aColor structure and design /$cRichard G. Ellinger.
260 $aNew York :$bReinhold,$c1980, ©1963.
300 $a137 pages :$billustrations (some color) ;$c23 cm
336 $atext$btxt$2rdacontent
337 $aunmediated$bn$2rdamedia
338 $avolume$bnc$2rdacarrier
500 $aIncludes index.
505 0 $a1. Introduction -- 2. Some basic concepts : The nature of color ; The nature of pigment ; The human eye in relation to color vision ; Role of the eye mechanism in establishing complements of hue ; The charting of hue relationships -- 3. The dimensions of color : Munsell's color notation ; The color sphere -- 4. The resources of pigment : Spectrum value ; Project 1 ; The constant-hue chart ; Project 2 -- 5. A basic theory of design : Rationale of design theory ; Lack of a common terminology ; Need for a clarification of theory ; Principles of design ; The validity of the principles ; The application of the principles -- 6. Specific controls of color and the graphic devices for charting them : Limitation of hue ; Balance of hue ; Dominance of hue ; Limitation of value ; Balance of value ; Dominance of value ; Limitation of chroma ; Balance of chroma ; Dominance of chroma -- 7. The broader view of the designer's problem: the organization of the noncolor elements : The elements of form ; The organization of line ; The organization of shape ; The organization of mass ; The organization of texture -- 8. The search for motif: the technical devices of the designer : Project 3 ; Overlapping planes ; Counterchange ; Line over mass ; Implied line ; The interlock, or interlocking rhythm ; Open color ; Transparency and translucency ; The forced edge ; The dynamic trellis ; Variety within order -- 9. Motif and development: the organization of the neutrals : Technical aspects of value contrast ; The achievement of dominance ; The golden mean ; Special handling for the subordinate areas ; Project 4 ; Development of motif: design to a fixed area ; Project 5 ; Project 6 -- 10. The single hue and neutral scheme with the neutrals dominant : A directive for chroma ; A directive for value ; A directive for hue ; Project 7 ; Project 8 ; Analysis and evaluation ; The use of arrows in charting -- 11. The single hue and neutral scheme with the single hue dominant : Technical difficulties with high-chroma dominance ; Simultaneous contrast ; Correction for true neutrals ; The scheme in subdued contrasts ; Project 9.
505 0 $a12. The adjacent hues and neutrals: rhythm in color : Alliance of adjacent hues in a common dominance ; Warm and cool distinctions ; When neutrals are dominant ; Rhythm in color ; Two types of rhythm ; Rhythm through repetition ; Rhythm through sequence ; Project 10 -- 13. The expressive potential of color: color for the specific project: color under artificial light : The role of empathy ; Empathy in the choices for dominances ; Empathy in the choice of the oppositions ; Color planning for the specific project ; Functional directives at the utilitarian level ; Functional directives at the emotional level ; Project 11 ; Project 12 ; Project 13 ; Color under artificial light ; Red + green = yellow -- 14. The organization of the complementary schemes : A single hue and its complement ; Dominance upon one of the complements ; New functions for neutrals ; The case for neutral dominance ; A single hue and its near complement ; The split complement ; Project 14 ; Project 15 ; Project 16 -- 15. Discords in the color scheme: the triad and its variations : Technical considerations ; Balanced discords ; Project 17 ; The triad ; Variations of the triad ; Limited triad ; The limited triad as a "set" palette ; Saturation: a device of pigment mixture ; Project 18 ; Project 19 ; Project 20 -- 16. Exploring the wider ranges of hues: variants of the basic schemes : Two adjacent hues and their complements ; Three adjacent hues and their complements ; The point of diminishing returns ; Variants of the basic schemes ; Asymmetrical balance of hue ; A variant of the adjacent hues and N scheme ; The scattered hue balance ; Unrelated pairs of complements ; Project 21 ; Project 22 -- 17. Munsell, Ostwald, and Ross: a comparative survey of competing systems of color standards : The Ostwald system ; The Ross system ; The Munsell system.
530 $aAlso issued online.
650 0 $aColor.
650 0 $aPainting$xTechnique.
650 6 $aCouleur.
650 6 $aDessin$xTechnique.
650 6 $aCouleur dans l'art.
650 7 $aColor.$2fast$0(OCoLC)fst00868499
650 7 $aPainting$xTechnique.$2fast$0(OCoLC)fst01050624
653 $aColour - For design
776 08 $iOnline version:$aEllinger, Richard G. (Richard Gordon).$tColor structure and design.$dNew York : Reinhold, 1980, ©1963$w(OCoLC)560290623
959 $a(EIUdb)199901
959 $a(UICdb)328978$9LOCAL
994 $a92$bIAD