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The 50th anniversary edition of a classic text, featuring an expanded selection of color studies



"The landmark 1963 book by Josef Albers . . . isn't just for aspiring artists. Its mesmerizing illustrations are a revelation for anyone interested in color theory and human perception."--Pilar Viladas, New York Times



"A visionary work."--Malcolm Jones, Newsweek



Josef Albers's classic Interaction of Color is a masterwork in art education. Conceived as a handbook and teaching aid for artists, instructors, and students, this influential book presents Albers's singular explanation of complex color theory principles.



Originally published by Yale University Press in 1963 as a limited silkscreen edition with 150 color plates, Interaction of Color first appeared in paperback in 1971, featuring ten color studies chosen by Albers, and has remained in print ever since. With over a quarter of a million copies sold in its various editions since 1963, Interaction of Color remains an essential resource on color, as pioneering today as when Albers created it.



Fifty years after Interaction 's initial publication, this anniversary edition presents a significantly expanded selection of close to sixty color studies alongside Albers's original text, demonstrating such principles as color relativity, intensity, and temperature; vibrating and vanishing boundaries; and the illusion of transparency and reversed grounds. A celebration of the longevity and unique authority of Albers's contribution, this landmark edition will find new audiences in studios and classrooms around the world.

Tabla de contenidos provista por Syndetics

• Foreword(p. ix)
• Introduction(p. 1)
• I Color recollection-visual memory(p. 3)
• II Color reading and contexture(p. 4)
• III Why color paper-instead of pigment and paint(p. 6)
• IV A color has many faces-the relativity of color(p. 8)
• V Lighter and / or darker-light intensity, lightness(p. 12)
• Gradation studies-new presentations
• Color intensity-brightness
• VI 1 color appears as 2-looking like the reversed grounds(p. 18)
• VII 2 different colors look alike-subtraction of color(p. 20)
• VIII Why color deception?-after-image, simultaneous contrast(p. 22)
• IX Color mixture in paper-illusion of transparence(p. 24)
• X Factual mixtures-additive and subtractive(p. 27)
• XI Transparence and space-illusion(p. 29)
• Color boundaries and plastic action
• XII Optical mixture-after-image revised(p. 33)
• XIII The Bezold Effect(p. 33)
• XIV Color intervals and transformation(p. 34)
• XV The middle mixture again-intersecting colors(p. 37)
• XVI Color juxtaposition-harmony-quantity(p. 39)
• XVII Film color and volume color-2 natural effects(p. 45)
• XVIII Free studies-a challenge to imagination(p. 47)
• Stripes-restricted juxtaposition
• Fall leaf studies-an American discovery
• XIX The Masters-color instrumentation(p. 52)
• XX The Weber-Fechner Law-the measure in mixture(p. 54)
• XXI From color temperature to humidity in color(p. 59)
• XXII Vibrating boundaries-enforced contours(p. 61)
• XXIII Equal light intensity-vanishing boundaries(p. 62)
• XXIV Color theories-color systems(p. 65)
• XXV On teaching color-some color terms(p. 68)
• Explanation of color terms
• Variants versus variety
• XXVI In lieu of a bibliography-my first collaborators(p. 74)
• Plates and commentary(p. 75)

Notas de autor provistas por Syndetics

Josef Albers , one of the most influential artist-educators of the twentieth century, was a member of the Bauhaus group in Germany during the 1920s. In 1933 he came to the United States, where he taught at Black Mountain College for sixteen years. In 1950 he joined the faculty at Yale University as chairman of the department of design. Albers was elected to the National Institute of Arts and Letters in 1968 and was professor emeritus of art at Yale until his death in 1976. Nicholas Fox Weber is executive director of the Josef and Anni Albers Foundation.