Naturally, practice is not preceded but followed by theory. Such study promotes a more lasting teaching and learning through experience. Its aim is development of creativeness realized in discovery and invention – the criteria of creativity, or flexibility, being imagination and fantasy. Altogether it promotes “thinking in situations,” a new educational concept unfortunately little known and less cultivated, so far” (p.68). Especially when considered as different painting techniques, as in you literally need to do and think about a lot of stuff differently to employ each one. By publishing your document, the content will be optimally indexed by Google via AI and sorted into the right category for over 500 million ePaper readers on YUMPU. A handbook and teaching aid for artists, instructors, and students, this timeless book presents Albers’s unique ideas of color experimentation in a way that is valuable to specialists as well as to a larger audience. In 1963, Josef Albers published Interaction of Color, which is a record of an experiential way of studying and teaching color.

As Albers would tell us, and here I'll bring in Ian McGilchrist of "The Master and His Emissary", sound is sequential, it can only happen in a row of information (though different sounds can be combined at the same time), touch is a bit less sequential, you can tough something with different bits of yourself, or be touched at once. Movement has a 'moment of movement' but is quite largely sequential, it happens in a row but vision, and the sensing of colour and shape, am I wrong in thinking that it has the least sequential elements? And when, in 1958, at age 70, the German émigré Josef Albers retired from the Yale faculty, legacy-defining professional triumphs were still to come. People need delight,” said Nicholas Fox Weber ’72 M.A., executive director of the Josef and Anni Albers Foundation, who has written extensively about Albers and is now at work on a Yale Press biography of his wife, the textile artist Anni Albers. Dimensions: 1 bound volume (80 p. : ill. ; 36 cm.), 1 portfolio (80 folders of col. ill. + "Commentary," 1 paperbound v. ; 36 cm.) : chiefly col. ill. ; in cloth-covered case ; Height: 14 9/16 in. (37 cm)An iPad App has been created to accompany the Interaction of Color. The app features an array of the color theory exercises featured in Interaction of Color Related posts The most comprehensive and intelligent . . . book we have yet on this subject. It is an indispensable volume for the artist, architect, or teacher who finds a greater challenge in discovery than in a ‘safe’ color system.”— Architectural Forum A major source of inspiration for Albers’s treatment of color as subjective phenomena was Goethe’s 1810 Farbenlehre (Study of color), adapted at the Bauhaus (where Albers was both a student and a teacher) through Johannes Itten’s own teaching and experiments with color. 7 Of particular interested to Albers was Goethe’s examination of the phenomenon known as “simultaneous contrast”—the tendency of colors to shift based on their adjacent surroundings. Albers capitalized on the human response to these color relationships, evoking philosophical, expressive, or emotional reactions to color. 8 In later works in the Homage series, he used closely related hues of the same color, requiring a more extended period of contemplation from the viewer.

Still, for Albers, whose reputation as a gifted and captivating teacher was as great as his renown as an artist, the meticulously crafted book served to enshrine and promote his pedagogical aims.comfortable chair, a large table, and a good bit of time” to come to grips with this “very large book In the ensuing years — Albers would live until 1976 — the author continued to work on his celebrated series of paintings, “ Homage to the Square,” in which he played with color in nestled squares. The series ultimately numbered about 2,000 artworks, many produced in Albers’s home studio in Connecticut, and at least one of which the artist gifted to Kerr. Albers also took on commissions for public artworks, including murals in the Pan Am (now MetLife) Building in Manhattan and for a landmark development in central Sydney, Australia, as well as works for Stanford University and other patrons. (Some were completed after his death.)