colors, such as complementary pairs, triads, double com-
plements, split complements, etc. The diagram is accom-
panied by a four page leaflet describing Itten’s concept.
This simple color diagram ignores important information
about color that is made evident by more sophisticated color
systems. For instance, the full strength yellow is shown at
the same distance from white as the full strength purple,
which means that the steps between yellow and white are
very small while those between purple and white are very
large.
In the original version color fields are separated by a black
line so the viewer tends to see individual flat colors. In the
new diagram the colors touch one another inducing contrast
effects, sometimes referred to as Mach bands or a fluting
effect, so that each segment appears to have a slight gradient
in color. This gives the star a more delicate appearance and
required exact registration in printing, but it is a handicap
in judging an individual color.
Considering the difficulty in printing color, it is not sur-
prising that the colors shown in the 1961 book differ from
the colors in the diagram printed in 1986; but the amount
of difference in some hues is too large if exact relationships
between these colors are truly important. The change in hue
is much greater than the tolerances set for systems such as
the Munsell, Natural Color System, or the Uniform Color
Scales where repeatability and reproducibility are important.
The diagram is attractive and well presented, but has limited
usefulness.
JOY TURNERLUKE
Color and Fiber, by Patricia Lambert, Barbara Staepelaere,
and Mary G. Fry, Schiffer Publishing Ltd., West Chester,
Pennsylvania, 1986, 255 pp. Price: $49.50.
Color and Fiber is a handsome book which will have great
aesthetic appeal to fiber artists. It is illustrated with out-
standing color reproductions of works of art by well known
contemporary fiber artists, color wheels, and modulation
scales of beautifully dyed skeins of yam, and clear black
and white diagrams which reinforce the text.
The book is presented in three parts. Part one, titled “The
Language of Color,” deals with the terminology and the
physics of visible light rays and reflected color. Part two,
“Fiber Structure, Light and Color,” examines how variables
at the structural levels, such as molecule, fiber, yam, and
fabric, influence color perception. And part three, “Attain-
ing Predictable Results,” repeats some of the principles put
forth in the first two sections of the book with the addition
of practical applications. The last chapter of this section
contains 143 projects or exercises which supplement the
information in the book.
The first section of the book, concerning definitions and
color theory, is rather boring reading for the artist working
independently. This necessary information can be made in-
teresting in a classroom situation by demonstrations of the
principles of color physics being discussed. The last chapter
in the book begins with projects on how to do this.
Volume 12, Number 5, October 1987
In part two, the discussion of the molecular manner in
which dyes work, the definitions and characteristics of dif-
ferent types of dyes, and different ways of applying dyes
is interesting but a very general overview and does not
include good practical information. A large portion of part
two deals with the cross sections of man-made fibers and
how the surface, crimp, and arrangement when spun of man-
made fibers are changed to closely match the light reflecting
characteristics of natural fibers. Industrial fabrics and fin-
ishes are discussed. These sections of information are also
interesting but not terribly useful to the artist. More infor-
mation on different manufacturers of dyes available to the
artist and advice on how to use them would have been
helpful. Sources of information on dyeing, such as a bib-
liography, are also needed. There is a bibliography at the
end of the book, but it lists only one book on dyeing. The
information on fiber structure, especially surface texture,
and how it affects light reflectance is very complete.
With part three, this book finally becomes interesting as
theory is brought to life with samples and illustrations in
fiber. The practical application of color covers the relativity
of color and several color systems. These sections are well
illustrated with examples that show how to use the principles
of color discussed earlier in the book and with reproductions
of fiber pieces by well-known artists who successfully em-
ploy these theories and systems.
The chapter titled “Transition to Fiber” is mainly about
how to mix paint. It discusses several manufacturers of
paints and details how to clean brushes when working with
acrylic paints. This sort of detailed information on dyeing
would greatly enhance that section of the book.
The last chapter of the book contains a list of projects
which reinforce and expand the information covered in the
text. Some of the projects repeat the examples in the text
and could be used in classroom demonstrations to make the
text more interesting. The projects vary in length and com-
plexity from simple scales to project no. 52 which could be
a course in itself. “52. Dye samples of cotton, linen, wool,
silk, nylon, acrylic, and polyester threads or fabrics in each
of the following dyes: direct, acid, basic, disperse, pre-
metalized, fiber-reactive, and light-sensitive. Use as many
colors as possible. Mount the samples in a notebook, la-
beling each as to fiber, dye, and quantity of dye. Using
some of the samples from above, experiment with over-
dyeing. Keep a record of what is done.” This would be an
excellent course in a school with a dyeing studio but quite
expensive and difficult for the artist working independently.
There is no information in this book to help the independent
student know how to go about this. No one person or class
could execute all these projects, but there are many good
ones from which to choose.
Although this book’s initial impact is very appealing, it
will probably be little used as a reference book by the studio
artist or individual working independently. It is, however,
an excellent color course guide for a fiber arts teacher.
MARTHAMATTHEWS
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