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Color and Light: Luminous Atmospheres for Painted Rooms Hardcover – Apr 27 1999


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Product Details

  • Hardcover: 256 pages
  • Publisher: Clarkson Potter (April 27 1999)
  • Language: English
  • ISBN-10: 0517704013
  • ISBN-13: 978-0517704011
  • Product Dimensions: 31.3 x 24 x 2.4 cm
  • Shipping Weight: 1.5 Kg
  • Average Customer Review: 3.4 out of 5 stars  See all reviews (8 customer reviews)
  • Amazon Bestsellers Rank: #236,553 in Books (See Top 100 in Books)

Product Description

About the Author

Donald Kaufman and Taffy Dahl, authors of Color: Natural Palettes for Painted Rooms, are founding partners of Donald Kaufman Color, the country's foremost color consulting firm. Their work with architects and designers has included collaborations with Philip Johnson, Richard Meier, Mariette Gomez, and Stephen Sills. Kaufman is also a painter whose work is represented in the Whitney, MOMA, and Hirshhorn collections. Dahl
is a ceramicist who, with Kaufman and Suzanne Butterfield, founded the full-spectrum paint line, The Donald Kaufman Color Collection. The authors live in New York City.

Dominique Vorillon is a photographer whose work appears in architecture, interior design, gardening, and travel magazines in both America and Europe. He divides his time between Los Angeles and the Loire Valley.

Christine Pittel, a contributing editor to House Beautiful, writes on art, architecture, and design. Her articles have appeared in Harper's Bazaar, Town & Country, House & Garden, and the New York Times.

Excerpt. © Reprinted by permission. All rights reserved.

The air itself can seem colored. Distant mountains look blue because there is inevitably more blue light between you and a remote object. This blue veil is called airlight, which is simply sunlight scattered by the air molecules between you and the view. "Skylight" is the term physicists reserve for sunlight scattered by clouds and molecules in the sky. Most of the light illuminating our world is re        ected. We rarely look directly at the sun. Instead, we experience its rays secondhand--bounced oV buildings or the grass beneath our feet, scattered by all those invisible particles in the air.
        
When sunlight eventually hits the ground, it comes back altered. A Renaissance artist would add a hint of green to the face of a woman walking across a meadow. As in a theater, sunlit grass becomes a virtual uplight, tinting the air and everything it touches. Trees and plants in lush gardens have the same eVect as they         lter the sun through their leaves.
        
The light that lands on the windowsill, then, is layered--the result of many chromatic shadings on its journey from the stratosphere to the sidewalk. The in        uences only intensify as it enters a room. Curtains frame light and can shift its hue and temperature. A diaphanous fabric acts like a gel, coloring sunlight passing through.
        
Inside, light is a nimble captive of four walls plus the         oor and ceiling, subject to all sorts of variations in surface from matte to mirror. "Material is spent light," said architect Louis Kahn, and every material re        ects light diVerently. White paint scatters light uniformly in all directions, which is why it covers a wall more ef        ciently than any other color. Glazed walls refract the light--bending each ray as it moves through two diVerent mediums, from the translucent layers to the more opaque undercoat. (Whenever you glaze a wall, if you make the undercoat lighter and warmer than the topcoat, it will create a more luminous eVect.) Dark woods absorb light. Metal, the most dense of all materials, is also the most re        ective, especially when polished.
        
Colors, too, look diVerent in diVerent lights. A vivid rug that looked great in the clear, strong light of Santa Fe might seem garish in Manhattan, or a pale rug that showed all its colors in Charleston might go         at in Seattle. In bright light, we see warm colors more easily. Dim light brings out the cool colors, which is why blue         owers look more intensely blue at dusk.
        
A room becomes more pleasurable when you bring some of nature's eVects indoors. Color in the sky is of a diVerent type than color on the ground. It seems to         oat disembodied and dimensionless. Even when it becomes objecti        ed by clouds or fog, it tends to softer boundaries and subtler shifts. These blurred transitions feel more atmospheric than sharper outlines. A gray sky is actually more luminous than a blue sky. Re-creating this luminosity in a room is as simple as keeping color values close. The less contrast of light and dark between hues, the more they tend to dissolve into one another.
        
Trees and rocks are composed of more opaque matter than clouds and fog, but their texture causes colors to break up in a similar way, giving us in        nitely shifting nuances of warm and cool shades. We can juxtapose similar warm and cool complements in our interiors for the same luminous eVect. This is not a new trick. Landscape painters have employed this interplay for hundreds of years. Monet's         owers and trees achieve depth and radiance by being painted over a red ground. The key to any rich green is red. Complementary colors push each other away, heightening their contrast and emphasizing diVerences in hue that collectively create a full-spectrum range of white light.
        
The eye keeps trying to re-create white light. We         ll in colors that are missing through afterimages. Our bodies want to bask in the white light of
the sun, the energy source from which we evolved. The eye thrives on this atavistic reunion, and the most satisfying interiors merge warm and cool complements--applied to the walls or integral to the materials--to reconstitute the impression of white light.
        
The choice of particular hues is far less important than how they are combined into a delicate balance. Whether the palette is simple or complex, the interaction comes back to the basic polarities of light and shadow. We're so accustomed to seeing interiors in terms of objects that it requires a bit of readjustment to focus on the light. But light is the essence of color. Sometimes all you need to do is look out the window to         gure out what colors         ourish in your speci        c light. Take a cue from nature. Then, in every room, you will suddenly be able to see the light.

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Format: Hardcover
Two reasons to write this review. One is to counteract, or attempt to balance, the negativity of some of the other reader's reviews. The other is to bring to notice this exceptional book. The ideas that atmosphere, air and geographic location can influence color are not novel thoughts - Dutch master painters and the Provence of Van Gogh come to mind. But to apply such theories to the architectural and interior use of color has not been explored by enough people. Donald Kaufman was first an artist - this obviously influences his perception and methods of working with paint. The book is fascinating for the way it balances ethereal ideas with practical suggestions. The power and influence of localized light is described with excellent prose as well as lovingly selected photographs. Alongside such beauty are supremely helpful suggestions for using color and light in your own environment or in the spaces you are creating for others to enjoy. I have all three of Donald Kaufman and Taffy Dahl's books. Now I await a fourth!
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By A Customer on June 28 2002
Format: Hardcover
This and the two related books (Natural Palettes and the Suzanne Butterfield book on palettes based on D. Kaufman colors)should be read attentively by anyone faced with painting a room. As beautiful as some of the illustrations are, these are NOT coffee table books to browse through. They are full of practical information for painting rooms, including rooms like mine with dark woodwork, hardwood floors, uneven walls, odd-shaped and leaded glass windows, etc. For example -- balancing cool and warm, contrasting or matching color values, using hue to stand up to strong trim, using flat paint to create a soft, smooth wall surface, what to do with dark rooms (Don't paint them white -- the resulting shadows emphasize that they are dark.), the importance of mixing paint colors without using black pigment and the importance of having the full spectrum of pigments in any paint hue, the effect that the color of light in the room will have on the wall color, and much more. The room descriptions are not prescriptions for what one must do but rather examples of the many different effects that can result using fully-pigmented paint of different value, hue, contrasts, etc. under different light conditions. The Butterfield book is a fairly simple presentation. "Natural Palettes" and "Color and Light," particularly the latter book, are sophisticated illustrated explanations of the basic "rules" of light and color through some of the myriad possible results. Read these three books with attention and be rewarded with an appreciation of color and light everywhere(in every house, apartment, store, restaurant, office, etc., on the street, the highway, in the sky, city, country -- you won't be able to help it!) Read these books and you will see, know and care about color and light forever. You'll also have no problem painting your rooms.
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Format: Hardcover
I have had this book on loan from the public library for over six weeks and can't bare to part with it. The library wants their copy back, so I'm going to have to buy my own. I was attracted to the book, not because I wanted guidance in painting the interior of my house, but because as an amateur artist and photographer, I am interested in color theory. The palettes of these interior and exterior settings as they relate to natural light is inspirational and beautiful. This is not a "how-to" book, but offers scope for the imagination. I tend to paint all my interior rooms off-white because I think that brings more light into the room. This book challenges that thinking by demonstrating through photographs of rooms in the natural light of various geographic areas how nature works with the color palette to illuminate interiors. The text supplements the photographs by explaining how this works. I like this book very much.
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Format: Hardcover
I love color. I love light. So, I thought I would love this book. Wrong, wrong, wrong. This book is a borrrrrrrrrrrrrrrrrrrrrrrring read. It's like a bad term paper. I dare you to find one idea to take away and use in your own life. The author talks AT you, pontificates, lectures, never asks you a question or makes room for you to react. Talk about over-intellectualizing a topic and taking the fun out of design! Bleah!
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