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کتاب رنگ ایتن
In this book, the world's foremost color theorist examines two different approaches to understanding the art of color. Subjective feelings and objective color principles are described in detail and clarified by color reproductions.
192 pages
First published January 1, 1961
157 people are currently reading
3004 people want to read
About the author
Johannes Itten
29 books65 followersa Swiss expressionist painter, designer, teacher, writer and theorist associated with the Bauhaus (Staatliche Bauhaus) school. Together with German-American painter Lyonel Feininger and German sculptor Gerhard Marcks, under the direction of German architect Walter Gropius, Itten was part of the core of the Weimar Bauhaus.
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Displaying 1 - 30 of 56 reviews
May 20, 2010
"Colors are forces, radiant energies that affect us positively or negatively, whether we are aware of it or not."
Itten's color explanations and exercises, followed and enlarged by his discussions of color in master paintings, helps to quantify both how colors are used and how they shape what we see, think, and feel. A book to supplement, not replace, an intuitive approach to color use, it both sharpens the eye and focuses attention.
Both beautiful and informative, these Bauhaus lessons are still a valuable reference to consult for any activity that involves color.
Itten's color explanations and exercises, followed and enlarged by his discussions of color in master paintings, helps to quantify both how colors are used and how they shape what we see, think, and feel. A book to supplement, not replace, an intuitive approach to color use, it both sharpens the eye and focuses attention.
Both beautiful and informative, these Bauhaus lessons are still a valuable reference to consult for any activity that involves color.
March 25, 2024
Come è noto, il pittore Johannes Itten fu uno dei più celebri e celebrati professori del Bauhaus; il compito affidatogli da Walter Gropius, direttore della scuola, era sostanzialmente quello di far disimparare ai nuovi allievi ciò che avevano imparato altrove. Itten si presentava a lezione impalamidato con sgargianti palandrane d'arcana foggia da lui stesso progettate, occhialini tondi, la testa glabra come quella d'un monaco buddista; il suo approccio all'insegnamento sublimava sia l'arte che la scienza, era un metodo filosofico che investiva tutti gli strati del vivere umano, di più: la sua era una Religione. Il suo Vorkurs, il corso propedeutico obbligatorio della durata di sei mesi, indispensabile per accedere poi alle altre discipline, era per gli allievi un viaggio iniziatico, una catarsi, simboleggiava la porta d'ingresso a un modo nuovo di concepire l'Arte, il Mondo, la Vita.
Di fronte a tanto Moderno teosofo, ci si aspetterebbe di trovare nei suoi scritti la medesima istrionica e allucinata stravaganza; nulla di più sbagliato. L'arte del colore è un testo divulgativo chiaro, lineare, percettivo, accessibile, pensato a fini didattici e, pertanto, corredato da veri esercizi pratici dedicati agli aspiranti pittori per aumentare la propria percezione dei colori.
Nonostante Itten ignori deliberatamente alcuni degli studi scientifici sul colore contemporanei alla stesura del saggio (dopotutto, se persino Goethe si sentì in dovere di scrivere un trattatello sull'argomento, perché criminalizzare l’approccio intuitivo di Itten alla percezione dei colori? Percezione che, al di là dell'evidenza scientifica, nella storia dell'arte è sempre stata questione di occhio e sentimento) la sua teoria sugli accordi cromatici oggettivi e soggettivi è quantomai affascinante: ogni persona è in grado di ricollegare oggettivamente determinati accordi cromatici, per esempio, a determinate stagioni (la triade arancione-giallo ocra-terra di Siena bruciata fa subito pensare all'Autunno a chiunque, nessuno si sognerebbe di associarla alla Primavera), ma se si è lasciati liberi di creare da zero i propri accostamenti armonici, ognun ne creerà di diversi, in base ai suoi colori (occhi, incarnato, capelli) e alla sua personalità/psiche. Itten era in grado di riconoscere e accoppiare alla cieca gli accordi creati dai suoi allievi ai loro rispettivi creatori, e ci prendeva sempre (dice lui). Doveva essere uno spettacolo vederlo in azione!
Il suo cavallo di battaglia, però, resta la sua teoria dei sette contrasti cromatici, indispensabile secondo lui per generare armonia; teoria di grande successo che fu assai studiata ed è ancor oggi sostanzialmente valida, seppur eccessivamente soffocante nelle sue conclusioni.
Un testo che senza dubbio è stato in larga parte superato da studi successivi più moderni, eppure ancora meritevole d'attenzione; dopotutto, l'odierna ruota cromatica a 12 colori formata dai 3 primari, 3 secondari e 6 terziari, riconosciuta ufficialmente da tutti, è un'evoluzione, meglio ancora, è una riedizione con qualche minimo correttivo colorimetrico di quella ideata da Itten per i suoi allievi circa cent'anni fa.
Di fronte a tanto Moderno teosofo, ci si aspetterebbe di trovare nei suoi scritti la medesima istrionica e allucinata stravaganza; nulla di più sbagliato. L'arte del colore è un testo divulgativo chiaro, lineare, percettivo, accessibile, pensato a fini didattici e, pertanto, corredato da veri esercizi pratici dedicati agli aspiranti pittori per aumentare la propria percezione dei colori.
Nonostante Itten ignori deliberatamente alcuni degli studi scientifici sul colore contemporanei alla stesura del saggio (dopotutto, se persino Goethe si sentì in dovere di scrivere un trattatello sull'argomento, perché criminalizzare l’approccio intuitivo di Itten alla percezione dei colori? Percezione che, al di là dell'evidenza scientifica, nella storia dell'arte è sempre stata questione di occhio e sentimento) la sua teoria sugli accordi cromatici oggettivi e soggettivi è quantomai affascinante: ogni persona è in grado di ricollegare oggettivamente determinati accordi cromatici, per esempio, a determinate stagioni (la triade arancione-giallo ocra-terra di Siena bruciata fa subito pensare all'Autunno a chiunque, nessuno si sognerebbe di associarla alla Primavera), ma se si è lasciati liberi di creare da zero i propri accostamenti armonici, ognun ne creerà di diversi, in base ai suoi colori (occhi, incarnato, capelli) e alla sua personalità/psiche. Itten era in grado di riconoscere e accoppiare alla cieca gli accordi creati dai suoi allievi ai loro rispettivi creatori, e ci prendeva sempre (dice lui). Doveva essere uno spettacolo vederlo in azione!
Il suo cavallo di battaglia, però, resta la sua teoria dei sette contrasti cromatici, indispensabile secondo lui per generare armonia; teoria di grande successo che fu assai studiata ed è ancor oggi sostanzialmente valida, seppur eccessivamente soffocante nelle sue conclusioni.
Un testo che senza dubbio è stato in larga parte superato da studi successivi più moderni, eppure ancora meritevole d'attenzione; dopotutto, l'odierna ruota cromatica a 12 colori formata dai 3 primari, 3 secondari e 6 terziari, riconosciuta ufficialmente da tutti, è un'evoluzione, meglio ancora, è una riedizione con qualche minimo correttivo colorimetrico di quella ideata da Itten per i suoi allievi circa cent'anni fa.
January 19, 2017
I first learned about practical color theory in fine arts school from Itten's basic principles in The Art of Color. Even after reading books by Goethe, Chevreul, Ostwald and Birren, I still think this is the ultimate book on the subject written for artists.
Itten is clear in clarifying every concept, principle and harmony with precise explanations and straightforward illustrations. Each concept or principle is followed by examples of notable paintings in which Itten makes it obvious how the artist took full advantage of color theory.
This particular volume is out of print, but a condensed and edited version titled The Elements of Color is still available. While Elements of Color covers the basics, you'll be missing out on all the fantastic explanations from Itten on concepts and principles applied to art. If you're able to find a copy of Art of Color to read (even in a library) it gives you a clearer picture of Itten's ideas than the abbreviated Elements of Color.
Even though this book is written for the painter or fine art student, all of these concepts apply to anyone working with color, including quilters. Highly recommended as a #1 read to any quilter, textile or fiber artist interested in looking for new ways to use color.
*Itten's system is based in the artist's subtractive system of Red/Yellow/Blue primaries. While some believe the additive system of light creates better results with Red/Green/Blue primaries, I still think this book is relevant reading. With a bit of effort, you can apply these concepts and principles of harmony to the RGB color wheel as well.
Itten is clear in clarifying every concept, principle and harmony with precise explanations and straightforward illustrations. Each concept or principle is followed by examples of notable paintings in which Itten makes it obvious how the artist took full advantage of color theory.
This particular volume is out of print, but a condensed and edited version titled The Elements of Color is still available. While Elements of Color covers the basics, you'll be missing out on all the fantastic explanations from Itten on concepts and principles applied to art. If you're able to find a copy of Art of Color to read (even in a library) it gives you a clearer picture of Itten's ideas than the abbreviated Elements of Color.
Even though this book is written for the painter or fine art student, all of these concepts apply to anyone working with color, including quilters. Highly recommended as a #1 read to any quilter, textile or fiber artist interested in looking for new ways to use color.
*Itten's system is based in the artist's subtractive system of Red/Yellow/Blue primaries. While some believe the additive system of light creates better results with Red/Green/Blue primaries, I still think this book is relevant reading. With a bit of effort, you can apply these concepts and principles of harmony to the RGB color wheel as well.
March 23, 2013
This book is required reading for any student of color theory. Itten's work opens the subject of color interaction to readers of all backgrounds, and gives the practicing artist an essential tool for understanding the role the color plays in design.
March 28, 2012
فصل نهم و دهم درباره نظریه امرسیون رنگ و کمپوزیسیون است
خیلی جالب ئتوضیح داده
تحلیل هایی که از نقاشی ها هم کرده واقعا برام جالب بود
خیلی جالب ئتوضیح داده
تحلیل هایی که از نقاشی ها هم کرده واقعا برام جالب بود
April 6, 2024
تاثیر خیلی زیادی بر دیدگاه ما در زمینه های مختلفی میذاره ، مثل سینما ، نقاشی ، مد و فشن و ... از همه مهمتر درک دقیقی از رنگ و ماهیت و کارایی اون به ما میده ( یادمون نره که ما در جهانی رنگی زندگی میکنیم ) بعد از خوندن این کتاب راه برای مطالعه بیشتر رنگ باز میشه .
July 5, 2022
«Преломление и фильтрация белого света проходят через электромагнитные колебания психофизической сферы человека», — вот что бывает, когда гуманитарий берётся за науку 8)
August 28, 2016
Слишком заумной вышла книга, потому что здесь автор рассказывает о том, что цвет это наука и добиться прекрасной композиции можно лишь путем вычислений. Лишь меньшинство работают по наитию, и то это не хорошо. Не интересно, не смогла даже дочитать :/
May 10, 2011
A good reference, for getting the concepts of colors. I learn many, from it.
March 25, 2025
Треба практикуватись зразу
April 6, 2025
Useful🤝
November 18, 2024
Saggio molto tecnico sull’utilizzo dei colori, specie nella pittura, ma applicabili anche in altri ambiti, come la fotografia.
È davvero affascinante scoprire “perché” alcuni colori stiano bene assieme rispetto ad altri, ma è anche utile sapere che l’artista non dev’essere strettamente legato a questi studi, ma lasciarsi ispirare dall’istinto!
È davvero affascinante scoprire “perché” alcuni colori stiano bene assieme rispetto ad altri, ma è anche utile sapere che l’artista non dev’essere strettamente legato a questi studi, ma lasciarsi ispirare dall’istinto!
April 16, 2025
Суперечливе враження. З одного боку — це ж сам Йоганес Іттен! Жива легенда (ну, майже жива), майстер Бауґаузу, ікона історії дизайну. Читати його «Мистецтво кольору» — це наче потрапити на його курс десь у 1920-х, де він пояснює фундаментальні принципи кольору. Але проблема в тому, що я читаю її у Львові в 2025-му. І це вже інший контекст, інше сприйняття, інші очікування, та й мій досвід взаємодії з кольором у дизайні теж.
Манера викладу — надзвичайно складна. Багато довгих, закручених конструкцій, філософських відступів, описів без конкретного візуального підкріплення. І ось ти читаєш про якийсь ефект кольору, згадку про приклад, гортаєш — шукаєш, знаходиш — ага, а потім повертаєшся до абзацу і вже не пам’ятаєш, з чого починав. Дуже субʼєктивно — це більше теоретичний манускрипт, ніж практичний посібник.
Що у підсумку? Підсумок такий: Іттен — безперечно батя. Але книжка потребує перекладу не лише мовою, а й форматом. Якби це були відеолекції з демонстраціями — ціни б їй не було. А так є — 430 грн в книгарнях. Маємо дещо застарілу, хоч і фундаментальну працю, яка вимагає багато зусиль від читача.
Манера викладу — надзвичайно складна. Багато довгих, закручених конструкцій, філософських відступів, описів без конкретного візуального підкріплення. І ось ти читаєш про якийсь ефект кольору, згадку про приклад, гортаєш — шукаєш, знаходиш — ага, а потім повертаєшся до абзацу і вже не пам’ятаєш, з чого починав. Дуже субʼєктивно — це більше теоретичний манускрипт, ніж практичний посібник.
Що у підсумку? Підсумок такий: Іттен — безперечно батя. Але книжка потребує перекладу не лише мовою, а й форматом. Якби це були відеолекції з демонстраціями — ціни б їй не було. А так є — 430 грн в книгарнях. Маємо дещо застарілу, хоч і фундаментальну працю, яка вимагає багато зусиль від читача.
April 10, 2023
Jedynym mankamentem książki jest to, że wymienionych w niej obrazów trzeba sobie samodzielnie poszukać w internecie. Poza tym same ochy i achy.
Dodam tylko, że to lektura przeznaczona raczej dla osób, które same zajmują się malarstwem.
Dodam tylko, że to lektura przeznaczona raczej dla osób, które same zajmują się malarstwem.
September 3, 2017
A really must-read book for everyone who works with visual art (architects, painters, graphic designers, photographers, and so on). The knowledge in this book is really mind-opening and definitely the one that will be very useful for a very long long time!
December 25, 2017
Краткое и практичное пособие по работе с цветом. Написано для художников и колористов, но также будет полезно фотографам, иллюстраторам, веб-дизайнерам и представителям всех других «визуальных» профессий
January 14, 2019
From my point of view, this book can be useful in a way that gives you a new perspective on how to use colours, especially in paintings description there are some important points that I myself wasn't able to find out them before reading this book.
Read
September 7, 2012Very interesting and informative work by the Bauhaus artist. His seven rules helped me decide on colors for phrases game.
February 17, 2013
to my knowledge, the only thing like it.
February 2, 2017
Munsell's color tree works much better than Itten's sphere, but Itten's color analysis of the various plates and the placement of color/form symbolism in cultural/historical context is brilliant.
August 15, 2016
i want this book :)
August 21, 2016
An essential book you should have read
December 31, 2018
I cant put forth the need, utility or effectiveness of the book for painters or artists or colour - students but as a naive amateur reader barely aware of science of colours I enjoyed it thoroughly.
March 24, 2025
Me enteré de este libro por la exposición del grupo Mondongo en Arthaus. En la terraza del edificio instalaron una cabina con miles de plastilinas pintadas por tonalidad tipo Pantone. Su Baptisterio de colores tiene espejos por todos lados, incluyendo el piso, da un efecto visual impactante que me recordó a una obra de Kusama en el Pérez Museum Art. Al leer el texto que acompañaba la obra vi que citaba este libro. Ya había leído del autor El curso básico de la Bauhaus que -a pesar de mi fanatismo por esta escuela- me había gustado poco pero igualmente decidí darle una oportunidad.
Había leído que era como los libros de Kandinsky pero más aburrido y lo comprobé (y eso que ésta era una versión abreviada, según me enteré volviendo al libro para hacer esta reseña). Me parece interesante el subtítulo: “La experiencia subjetiva y el conocimiento objetivo como caminos para el arte.” Quizá lo más rescatable es el recorrido que hace por la historia de la pintura y cómo cada movimiento aprovechó los atributos del color, las bases físicas de la realidad y el efecto cromático y cómo rescata obras como la de Goethe y otros referentes sobre este tema y los enmarca en su visión. Ilustra todos los conceptos con obras que hoy se pueden googlear fácil (a diferencia de cuando se publicó, por lo que hubiese sido conveniente que incluyera una imagen). El capítulo Forma y color en el que cuenta por qué el cuadrado es rojo, el triángulo verde y el círculo es azul me resultó curioso e informativo (me recordó la elección de colores de Clorindo Testa para el Konex, por ejemplo). Después se convierte en un libro de texto muy específico, a la manera de las notas de Da Vinci, probablemente de interés para el técnico o el artista plástico.
En resumen, es un clásico para los interesados en el arte aún citado más de medio siglo después de su publicación. Quizá es para leerlo como hice yo, no tan al detalle sino para captar los conceptos principales.
Frases preferidas:
“Todo lo que uno pueda aprender de los libros o de sus maestros es como un vehículo —dice un pasaje de los Vedas, que prosigue—, pero este solo es útil mientras se está en camino.”
“¿Por qué hay que llamar secretos a los principios que deben conocer todos los artistas y que habría que haberles enseñado a todos?”
“Igual que la tortuga recoge sus miembros bajo su caparazón para protegerse, el artista repliega su conocimiento cuando crea de manera intuitiva.”
“Los colores deberían experimentarse y comprenderse no sólo de manera óptica, sino también psíquica y simbólica.”
“En China el amarillo, el color más luminoso, estaba reservado al emperador, como hijo del cielo.”
“Las vidrieras eran relucientes jeroglíficos que el pueblo comprendía.”
“‘No hagáis ventanas’, no hagáis agujeros en el cuadro, dijo Camille Corot.”
“Los impresionistas, basándose en una precisa observación de la naturaleza, habían llegado a pintar sombras de colores.”
“Una luz así extendida sobre un paisaje sugiere el horror del fin del mundo.” (Goethe, refiriéndose al rojo púrpura).
Había leído que era como los libros de Kandinsky pero más aburrido y lo comprobé (y eso que ésta era una versión abreviada, según me enteré volviendo al libro para hacer esta reseña). Me parece interesante el subtítulo: “La experiencia subjetiva y el conocimiento objetivo como caminos para el arte.” Quizá lo más rescatable es el recorrido que hace por la historia de la pintura y cómo cada movimiento aprovechó los atributos del color, las bases físicas de la realidad y el efecto cromático y cómo rescata obras como la de Goethe y otros referentes sobre este tema y los enmarca en su visión. Ilustra todos los conceptos con obras que hoy se pueden googlear fácil (a diferencia de cuando se publicó, por lo que hubiese sido conveniente que incluyera una imagen). El capítulo Forma y color en el que cuenta por qué el cuadrado es rojo, el triángulo verde y el círculo es azul me resultó curioso e informativo (me recordó la elección de colores de Clorindo Testa para el Konex, por ejemplo). Después se convierte en un libro de texto muy específico, a la manera de las notas de Da Vinci, probablemente de interés para el técnico o el artista plástico.
En resumen, es un clásico para los interesados en el arte aún citado más de medio siglo después de su publicación. Quizá es para leerlo como hice yo, no tan al detalle sino para captar los conceptos principales.
Frases preferidas:
“Todo lo que uno pueda aprender de los libros o de sus maestros es como un vehículo —dice un pasaje de los Vedas, que prosigue—, pero este solo es útil mientras se está en camino.”
“¿Por qué hay que llamar secretos a los principios que deben conocer todos los artistas y que habría que haberles enseñado a todos?”
“Igual que la tortuga recoge sus miembros bajo su caparazón para protegerse, el artista repliega su conocimiento cuando crea de manera intuitiva.”
“Los colores deberían experimentarse y comprenderse no sólo de manera óptica, sino también psíquica y simbólica.”
“En China el amarillo, el color más luminoso, estaba reservado al emperador, como hijo del cielo.”
“Las vidrieras eran relucientes jeroglíficos que el pueblo comprendía.”
“‘No hagáis ventanas’, no hagáis agujeros en el cuadro, dijo Camille Corot.”
“Los impresionistas, basándose en una precisa observación de la naturaleza, habían llegado a pintar sombras de colores.”
“Una luz así extendida sobre un paisaje sugiere el horror del fin del mundo.” (Goethe, refiriéndose al rojo púrpura).
September 6, 2023
Now, I can say that my search is over and I cherish this book to clarify all the queries about color. Johannes Itten is a great contributor to enlighten those students who want to know about colors.
Obviously, I will not say that I learnt everything and became the next master :P
His teaching is actually a lot to consume. I can't afford to skim even a single word of his knowledge. This book is a gem.
I just completed my reading, but learning is still going on.
Art of Color is an impressive book with classic style, language and well-defined content on color. This book let me go back to prior studies I did and also did new research to connect with content more deeply through making charts, playing around in design software and noting down key points of the chapters.
WHAT WAS MY EXPERIENCE WITH THIS BOOK?
I am honoured to pick this book. The narration style excited me to read and understand deeply the lessons an author wants to teach his students. This book encourages me to discover my own subjective colours and my own ways to apply his practical approved theories.
Painting and colour are interrelated. With more understanding in paintings, the more you will understand the application of colours. Reading this book for colour seems more valuable as a designer than a colour book by a physicist, chemist, physiologist or other disciplines' perspective.
The author arranged the book content thoughtfully with complete understanding where the students may start researching before reading, and mentioned important notes in a way that students can write down without any hard hunting and then start actual reading in flow.
DID I GOT ANY TROUBLE?
As such no...
Some keen reviewers or modern editors may find frequent use of adverbs annoying, but I could sense the feelings behind using adverbs by the author - thus, it doesn't bother me much!
Also let me clear to Indian readers that this book is written in American English as the title itself defines this.
WHO CAN READ THIS BOOK?
Colorists, artists, painters, designers (who are studying principles of design), physicists, psychologists and art lovers (who want to understand art deeply) should read this book.
I read somewhere that literature and graphic design are connected, so an author can read this book to understand colors in a symbolic, expressive, impressive, subjective and objective way.
Obviously, I will not say that I learnt everything and became the next master :P
His teaching is actually a lot to consume. I can't afford to skim even a single word of his knowledge. This book is a gem.
I just completed my reading, but learning is still going on.
Art of Color is an impressive book with classic style, language and well-defined content on color. This book let me go back to prior studies I did and also did new research to connect with content more deeply through making charts, playing around in design software and noting down key points of the chapters.
WHAT WAS MY EXPERIENCE WITH THIS BOOK?
I am honoured to pick this book. The narration style excited me to read and understand deeply the lessons an author wants to teach his students. This book encourages me to discover my own subjective colours and my own ways to apply his practical approved theories.
Painting and colour are interrelated. With more understanding in paintings, the more you will understand the application of colours. Reading this book for colour seems more valuable as a designer than a colour book by a physicist, chemist, physiologist or other disciplines' perspective.
The author arranged the book content thoughtfully with complete understanding where the students may start researching before reading, and mentioned important notes in a way that students can write down without any hard hunting and then start actual reading in flow.
DID I GOT ANY TROUBLE?
As such no...
Some keen reviewers or modern editors may find frequent use of adverbs annoying, but I could sense the feelings behind using adverbs by the author - thus, it doesn't bother me much!
Also let me clear to Indian readers that this book is written in American English as the title itself defines this.
WHO CAN READ THIS BOOK?
Colorists, artists, painters, designers (who are studying principles of design), physicists, psychologists and art lovers (who want to understand art deeply) should read this book.
I read somewhere that literature and graphic design are connected, so an author can read this book to understand colors in a symbolic, expressive, impressive, subjective and objective way.
August 23, 2025
A quick read with some valuable insights, despite the pompous tone and tedious jargon. One can't help but feel that some of the pseudoscientific "theories" presented are simply conjured out of thin air towards the sole end of bedazzling the befuddled and unsuspecting reader, as when Itten claims that "studies of depth effect in colors" led him to the conclusion "that the six fundamental hues on a black background conform to the ratio of the Golden Section in their gradation of depth". Given that he never cares to define how to objectively measure "gradation of depth", and moreover starts the book with an analysis of "subjective timbre" wherein he affirms (quite plausibly) that perception of color varies from individual to individual, such a precisely mathematical (and implausible) conclusion can hardly be taken seriously without quantitative evidence. Of course none is provided.
For students of painting more inclined towards sound theory and practical advice combined with simplicity and clarity of exposition as opposed to Itten's poetic pontification and muddle-minded mysticism, Todd M. Casey's "The Oil Painter's Handbook" seems like a more useful book.
For students of painting more inclined towards sound theory and practical advice combined with simplicity and clarity of exposition as opposed to Itten's poetic pontification and muddle-minded mysticism, Todd M. Casey's "The Oil Painter's Handbook" seems like a more useful book.
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June 21, 2024Si al tono le llamara pigmento podría respetar la elaboración, pero al confundir términos fundamentales en la imagen es difícil seguir sin empalmar conceptos y caer en confusiones o en sesgos.
Tono es densidad revelada por la luminosidad de cualidad color, sin volumen, ni contraste, con brillo, opacidad o matiz. El contraste es la potencia con la que incide la luminosidad al volumen que incidentalmente revela su tono, el contraste es cuantidad luminosa no propia de cualidad color.
Tono es densidad revelada por la luminosidad de cualidad color, sin volumen, ni contraste, con brillo, opacidad o matiz. El contraste es la potencia con la que incide la luminosidad al volumen que incidentalmente revela su tono, el contraste es cuantidad luminosa no propia de cualidad color.
March 2, 2024
I was interested in this book because many personal color analysts mentioned Johannes Itten’s work. This book is valuable for art students and enthusiasts since it discusses the theory and attributes of colors and also analyses the colors in many famous paintings. I think many beginner readers like me will benefit in “Art Critique 101” to get more understanding in Itten’s painting analysis.
May 14, 2025
Фендаментальна робота для митців різних напрямів. В книзі викладено знання про фізичні властивості кольору, гармонію кольору, колірний контраст, композицію та інші основи, які будуть дуже корисними спеціалістам, що працюють в творчій індустрії.
В книзі не вистачає графічних прикладів до тексту, які б спрощували ознайомлення з темою.
В книзі не вистачає графічних прикладів до тексту, які б спрощували ознайомлення з темою.
November 15, 2025
Sometimes it felt like it was dragging certain subjects longer than it should have, but it still was a brilliant source of knowledge on the ways color is used by artists and percieved by the public. The visual examples are a perfect way of showing it.
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