An experimental approach to the study and teaching of color is comprised of exercises in seeing color action and feeling color relatedness before arriving at color theory.

Table of Contents

I Color recollection-visual memory

II Color reading and contexture

Ill Why color paper-instead of pigment and paint

IV A color has many faces-the relativity of color

V Lighter and/ or darker-light intensity, lightness

VI 1 color appears as 2-looking like the reversed grounds

VII 2 different colors look alike-subtraction of color

VIII Why color deception?-after-image, simultaneous contrast

IX Color mixture in paper-illusion of transparence

X Factual mixtures-additive and subtractive

XI Transparence and space-illusion

XII Optical mixture-after-image revised XI II The Bezold Effect

XIV Color intervals and transformation

XV The middle mixture again-intersecting colors

XVI Color juxtaposition-harmony-quantity

XVI I Film color and volume color-2 natural effects

XVI II Free studies-a challenge to imagination

XIX The Masters-color instrumentation

XX The Weber-Fechner Law-the measure in mixture

XXI From color temperature to humidity in color

XXII Vibrating boundaries

XXIII Equal light intensity-vanishing boundaries

XXIV Color theories-color systems

XXV On teaching color-some color terms

XXVI In lieu of a bibliography-my first collaborators

About the Author

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.