John Drew, Sarah Meyer's Color Management: A Comprehensive Guide for Graphic PDF

By John Drew, Sarah Meyer

ISBN-10: 2888930188

ISBN-13: 9782888930181

New in Paperback!
Color Management indicates the right way to enforce colour as a realistic type of challenge fixing. it's a consolidated source, arming designers with an knowing of ways to speak with and deal with colour in all its features and functions; subtractive and additive; pigment, CMYK and RGB; 2-D and 3-D; nonetheless and movement. Sensitivity of pigments to gentle and air and the steadiness of inks also are specific, as is the human issue, via problems with colour legibility and the actual and mental results of colour. In its intensity and breadth, it's a specified physique of data.

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GEOMETRICAL SYMBOLOGY AND STYLIZATION Geometric stylization, circular designs, spiral motifs, and strong, clean lines are distinctively Mesoamerican. Note how in the painting below, the sphinx, an image firmly associated with Egypt, reads more as Mesoamerican because of the angular, stylized design and emphasis on the flat planes and horizontal axis, which echoes the design of the pyramid. MIXING REFERENCES • DON MAITZ ୵ ̃ Combining characteristics of several different cultures, the design (shown in thumbnail format, left, and painted, below) holds together due to the strong, clean lines and bold shapes of the image.

A good example of this is the Japanese system of compound brackets, which support the roofs. These intricate forms are as complex, beautiful, and structurally sound as any of the stone capitals in Europe. Like the roofs they support, the brackets have an almost indefinable “Japanese” character to them, as iconic as Doric capitals or the Gothic arch, and just as much of a staple for the fantasy artist in creating interesting, evocative worlds. Japanese compound brackets Front view of the Grand Shrine of Izumo, Japan Matsumoto Castle, Japan 42 INTRODUCTION TO ARCHITECTURE ROUNDED, ARCHED BRIDGES ̅ Whereas bridges themselves are hardly unique to Asia, the distinctly arched, curving bridge, usually made of stone, is so strongly linked to Asia that, even with no other architecture evident in a painting, the viewer will automatically presume a cultural and aesthetic sensibility that mirrors or mimics the Asian.

These are concepts. Let’s pick color as our concept, and let's refine it further. The painting will be about a splash of strong, warm color in a field of cool neutrals, perhaps the remnants of a dome or bit of paint against the dull color of the stone. Now you have a clear focus to begin defining, driving, and unifying your painting, and a gauge to constantly refer back to that will both keep you on track and tell you when you are finished. Key Points • Conceptualize first—you need a focus, a direction for your painting.

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Color Management: A Comprehensive Guide for Graphic Designers by John Drew, Sarah Meyer

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