Beruflich Dokumente
Kultur Dokumente
344
ally, three or four color fields, in varying proportion, sequence and value, are presented for each emotional quality
listed along with a lively, descriptive text.
For example, in the section describing the attribute
youthful the author explains, . . . Shows how reducing
the amount of white and increasing the blue proportionately
highlights the yellow-blue contrast for an attractive, summery outfit. A similar effect is achieved between (fields)
#2 and #7, where peppermint green lends a gay mood to
a patio luncheon table . . . There are also application tips
for package and industrial designers.
As is evident from the quote above, the language of the
book tends to be flowery and at times, sounds almost naive.
Since this book was originally published in Japanese, this
may be a result of the translation.
Useful to the reader is a final section that shows colors
arranged by hue and sub-divided into complementary and
contrasting color combinations. In addition, the hues are
cross-referenced to the various emotional attributes listed
throughout the book.
The format of the book, intended to be consulted as a
reference, may be frustrating to the novice who may need
to understand the theory behind the selections-something
that is not clarified until the reader is more than half way
through the book.
Overall, however, Kobayashis Color Image Scale theory appears to be a sound and useful one for both the amateur
and the professional color stylist.
IRIS WEINSTEIN
1. S.Kobayashi, The aim and method of thc color image scale, Color Re.\.
Appl. 6, 93-107 (1981).
2. J . Albers, Interaction of Color, Yale University Press, New Haven,
1971.
3. Anonymous, Designers Guide to Color, Chronicle Books, San Francisco, 1984.
CCC 4361-2317/87/060344-06$04.00