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Books on the topic 'Color'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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1

Ruth, Heller. Color color color color. New York: Grosset & Dunlap, 1995.

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2

Ruth, Heller. Color, color, color, color. New York: Puffin Books, 1999.

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3

Ruth, Heller. Color, color, color, color. New York: Putnam & Grosset, 1995.

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4

Kenkyūjo, Nihon Karā Dezain, ed. Book of colors: Matching colors, combining colors, color designing, color decorating. Tokyo: Kodansha International, 1987.

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5

Niz, Ellen Sturm. Color. Mankato, Minn: Capstone Press, 2006.

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6

Lamouline, Roger. Voir, nommer et figurer les couleurs: Du cercle de Newton aux pixels tricolores. Méolans-Revel: Atelier Perrousseaux, 2006.

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7

Burner, Alan McManus. Color choreography: Foundational studies, investigations, and discourse in color theory. 4th ed. Mason, OH, USA: Cengage Learning, 2008.

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8

Yates, Irene. All about color. New York: Benchmark Books, 1998.

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9

Rodríguez, Eulalio Ferrer. Los lenguajes del color. México: Instituto Nacional de Bellas Artes, 1999.

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10

Agnello, Marialaura. Semiotica dei colori. Roma: Carocci, 2013.

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11

Manolis, Kay. Color. Minneapolis, MN: Bellwether, 2009.

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12

Sidelinger, Stephen J. Color manual. Englewood Cliffs, N.J: Prentice-Hall, 1985.

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13

Meissner, Stephanie. The big book of color. Irvine, Calif: Quarto Foster Publishing, 2015.

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14

Kelly, Kenneth Low. Color-universal language and dictionary of names. [Washington, D.C: U.S. Dept. of Commerce, National Bureau of Standards, 1985.

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15

Kelly, Kenneth Low. Color-universal language and dictionary of names. [Washington, D.C: U.S. Dept. of Commerce, National Bureau of Standards, 1985.

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16

Stevens, Madeline. Orange around me. New York: Cavendish Square Publishing, 2015.

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17

Salzmann, Mary Elizabeth. Orange. Edina, Minn: Abdo Pub., 1999.

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18

Sterling, Kristin. Orange everywhere. Minneapolis: Lerner Publications Co., 2011.

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19

Limited, Dorling Kindersley, and Dorling Kindersley Inc, eds. My little color library. London: Dorling Kindersley, 1993.

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20

ill, Valet P. M., Pérols Sylvaine ill, Bourgoing Pascale de, and Gallimard Jeunesse, eds. El Color. Madrid: Ediciones SM, 1991.

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21

Malcolm, Dixon. Light and color. Mankato, Minn: Smart Apple Media, 1999.

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22

Pak, Hyo-ch'ŏl. Hwan'gyŏng saekch'ae tijain: Environmental color design. Sŏul-si: Sŏu, 2015.

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23

Kalman, Bobbie. De qué color es? New York: Crabtree Pub., 2008.

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24

Mayer, Cassie. Comparing colors. Chicago, Ill: Heinemann Library, 2008.

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25

Illumination, International Commission on. Improvement to industrial colour-difference evaluation. Vienna, Austria: CIE Central Bureau, 2001.

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26

Durham, David, Kyle Scheele, Caroline Soto Abellar, Ben Slepp, Honest Abe, Ann Barb, David Messner, and John-Erik Moseler. Ninety-nine shades of grey: A book for people who like the color grey. [Fla.]: Ridiculo.us Pub., 2012.

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27

K'alla Paesaek Sajŏn P'yŏnjip Wiwŏnhoe. Original color paesaek taesajŏn. Sŏul-si: Han'guk Sajŏn Yŏn'gusa, 1997.

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28

Unknown. Color/Colour. H. F. ULLMANN, 2012.

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29

Levine, Joseph. Color and Color Experience. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198800088.003.0011.

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In this paper I investigate the problems for “locating” color in the world, surveying the various subjectivist and objectivist positions and finding them wanting. I then argue that the problem is that colors are “ways of appearing,” an odd kind of property that essentially implicates the mind and turns the problem of locating color into part of the mind–body problem. Rather than identify colors with objective surface features, such as surface spectral reflectance, or with dispositions to cause certain internal mental states, I treat them as relations holding between the subject and the objects of perception. This is seen to explain why colors are so hard to locate, and also accounts for several other features of color experience.

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30

Gert, Joshua. A Realistic Color Realism. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198785910.003.0004.

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This chapter draws a distinction between rough and precise colors. Rough colors are picked out by such basic color terms as “red,” “blue,” “pink,” “gray,” and so on. Precise colors, on the other hand, correspond to precise locations in standard color spaces. There is a natural temptation to suppose that the prospects for a realism about precise colors are inseparably yoked to the prospects of a realism about rough colors. But despite the tempting simplicity of this view, the chapter argues that the most realistic version of color realism would hold that only rough colors can ever truly be predicated of objects. Precise color vocabulary, on the other hand, is appropriate only for descriptions of experiences.

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31

Gregor, Katherine, and Giovanna Ranaldi. Colors: True Color. Orange Hippos!, 2021.

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32

Scholastic, Inc. Color &Play - Colors, Shapes, Numbers (Color & Play). Scholastic, 2004.

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33

Goodman, David, Zoe Miller, and Ella Doran. Color. Tate Gallery, 2006.

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34

Koski, Mary. Color, Color, Where Are You, Color? Trellis Publishing, 2004.

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35

(Illustrator), Janeen Mason, ed. Color, Color, Where Are You, Color? Trellis Publishing, 2004.

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36

Kobayashi, Shigenobu. A book of colors: Matching colors, combining colors, color designing, color decorating. Kodansha, 1987.

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37

Color fun. Dorling Kindersley, 1995.

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38

Ruth, Heller. Color. Scholastic Inc., 1995.

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39

Ruth, Heller. Color. Putnam Juvenile, 1999.

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40

Ruth, Heller. Color. Tandem Library, 2001.

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41

Ruth, Heller. Color. Grosset & Dunlap, 1995.

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42

Color on Color: How Overprinting Two Colors Creates a New Third Color. Rockport Publishers, 1993.

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43

Hattatt, Lance. Gardening with Colour (color). Parragon Plus, 1999.

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44

ColorByColors and Kira Shershneva. Color by Colors SPRING. Independently Published, 2021.

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45

Rogondino, Rogondino. Computer Color: 10,000 Colors. Chronicle Books, 1990.

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46

Gert, Joshua. Color Constancy. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198785910.003.0006.

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This chapter presents an account of color constancy that explains a well-known division in the data from color-constancy experiments: So-called “paper matches” exhibit a much higher level of constancy than so-called “hue-saturation matches.” It argues that the visual representation of objective color is the representation of something associated with a function from viewing circumstances to color appearances. Thus, a relatively robust constancy in the representation of objective color is perfectly consistent with a relatively less robust level of constancy in color appearance. The account also endorses Hilbert’s idea that we can represent the color of the illumination on a surface as well as the color of the surface itself. Finally, the chapter addresses an objection to the hybrid view that notes our capacity to make very fine-grained distinctions between the objective colors of surfaces.

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47

Helfand, Jessica, and Sean Adams. Designer's Dictionary of Color. ABRAMS (Ignition), 2017.

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48

Kuehni, Rolf G. Color Space and Its Divisions: Color Order from Antiquity to the Present. Wiley & Sons, Incorporated, John, 2003.

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49

Kuehni, Rolf G. Color Space and Its Divisions: Color Order from Antiquity to the Present. Wiley & Sons, Incorporated, John, 2003.

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50

Kuehni, Rolf G. Color Space and Its Divisions: Color Order from Antiquity to the Present. Wiley & Sons, Incorporated, John, 2007.

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