Tuesday Morning Breakout Sessions

Ninety Minute Tutorials

Color Appearance, Color Order, & Other Color Systems
Tutorial with Mark D. Fairchild   FULL

How do color systems work? How do they vary? Are Munsell and Pantone doing the same thing? This tutorial will examine the mathematical description of color appearance and then explore how appearance is encoded in color order systems such as the Munsell Book of Color, the Natural Color System, and the OSA-UCS. It will also explore the differences between color appearance systems such as these and other systems that are used to name, specify, and communicate colors. We will end with a short update on recent progress in the understanding of human color vision for color appearance specification.


Mark D. Fairchild is Professor and Founding Head of the Integrated Sciences Academy in RIT’s College of Science and Director of the Program of Color Science and Munsell Color Science Laboratory. He received his B.S. and M.S. degrees in Imaging Science from R.I.T. and Ph.D. in Vision Science from the University of Rochester. Mark was presented with the 1995 Bartleson Award by the Colour Group (Great Britain) and the 2002 Macbeth Award by the Inter-Society Color Council for his works in color appearance and color science. He is a Fellow of the Society for Imaging Science and Technology (IS&T) and the Optical Society of America. Mark was presented with the Davies Medal by the Royal Photographic Society for contributions to photography. He received the 2008 IS&T Raymond C. Bowman award for excellence in education.

An Artist's Approach to Teaching Color
Tutorial with Roy Osborne

Roy Osborne’s presentation, illustrated with examples of students’ work, will examine his own various approaches to teaching color theory and practice in art, developed since he was first invited to teach BA modules in Color Theory at the University of Akron, Ohio (1986-87), and later developed at various college throughout England and elsewhere. The structure and content of the courses developed from the first draft of ‘Color Influencing Form’, written in 1984 but not published until 2004 (in an abridged edition). An underlying aim was not only to have students create ‘works of art’ for their portfolios, rather than mere color exercises, but to start to explore methodical relationships between color and form.


Roy Osborne began lecturing on the theory and practice of color after publication of his ‘Lights and Pigments: Colour Principles for Artists’ in 1980, one of the first books to link traditional with new art media. A well-know editor and writer on the subject of color in art, he has exhibited extensively as a painter and taught and lectured at some 200 institutions worldwide. He is the author of ‘Color Influencing Form: A Color Coursebook’ (2004) and recently published a definitive color bibliography, ‘Books on Colour 1495-2015’ which includes a concise history and over 3,000 annotated titles cross-referenced by author and date of publication.

MassArt Munsell Treasures
Tutorial with Greg Wallace  FULL  (PM Tutorial is open.)

A show-and-tell demo. Experience first hand antique Munsell devices, instructional toys, and memorabilia kept at the MassArt Library. You'll see a vintage color sphere that spins, an early version of the "color tree," a 1920s edition of Munsell's Atlas with still vibrant color chips, assorted whirligigs and Maxwell disks, as well as unpublished Munsell photos and documents.

Note: This tutorial session is also offered on Tuesday afternoon.


Greg Wallace is the reference and instruction librarian at MassArt. He holds a Ph.D. in history of art from Brown University. He has an ongoing fascination with color theory and has the pleasure of showing the MassArt Library's collection of antique Munsell objects to students and faculty every year.

The History of Color in Cinema
Tutorial with Anthony Stanton

This 90-minute tutorial will examine the long and varied history of color cinema beginning with the earliest hand-colored mov- ies produced by Thomas Edison and continuing to the age of digital cinema. The Technicolor Corporation was first to bring

a true sense of color realism to cinema, with the Technicolor 4 system in the 1930s. Technicolor was unchallenged in cinema until the invention of the first 35mm color negative film in 1950. The 1950s saw the proliferation of super-wide format cinema systems to create a different experience than could be had with color television systems that were viewed in the home. The competition between cinema and color TV went to a new level in the age of digital media. A discussion of the many changes to color cinema precipitated by the digital age will conclude the tutorial.

Note: This tutorial is also offered on Friday morning.

Dr. Anthony Stanton is a Teaching Professor and Director of the Graphic Media Management concentration at the Tepper School of Business, Carnegie Mellon University, where he has worked for the past 22 years. Stanton teaches a variety of courses, including Graph- ic Media Management, Publishing on the WWW, Color Reproduction and Management, and Publishing in the Information Age. He also is responsible for determining the curriculum for the concentration and advising students.
Prior to 1996, Stanton spent 12 years as the Director of the Process Control Division at the Graphic Arts Technical Foundation. In this position, he designed test images and other process control devices, conducted research in print analysis, served on various industry committees, and taught workshops and seminars. In addition to being a member of ISCC since 1999, Stanton has been a member ofthe Technical Association of the Graphic Arts since 1978. He served on its board of directors for 10 years and held a number of officer posts, including president of TAGA from 2007--2009. Stanton has authored 61 publications, taught more than 100 seminars and tuto- rials, and served as a judge in 15 national and international print contests. Stanton’s educational background includes a BA degree in Art from Colorado College in 1972. After working for a photo studio in New York and a print shop in Toronto, Stanton attended the University of Maryland, where he received an undergraduate certification in Industrial Arts and an MEd degree in Industrial Education in 1978. He next attended Rochester Institute of Technology, where he earned an MS degree in Printing Technology in 1982. Stanton taught for three years in the California State University System before joining the Graphic Arts Technical Foundation and enrolling in the University of Pittsburgh, where he earned a PhD degree in Instructional Design and Technology in 1992.

Three Hour Workshops

Introduction to the Munsell Color System for Artists
Workshop with Paul Centore


This workshop introduces the Munsell system using the Munsell Color Student Set. Concrete examples and hands-on exercises are emphasized. Tools such as value scales will be introduced. The Reilly paint-mixing system, which is based on the Munsell system, will be demonstrated.
The workshop will focus on how Munsell hue, value and chroma relate to one another and human vision, and how those relationships can contribute to the effectiveness of a painting or graphic design.


Paul Centore works with colour from both an artistic and a scientific viewpoint. Having earned a doctorate in mathematics, Paul naturally applies scientific tools to his Munsell endeavors. In particular, he has written an extensive amount of open-source Matlab/Octave code that incorporates the 1943 Munsell renotation standard. One use of the code is to analyze measurements of artist’s materials, such as pastels, to identify their colour properties, and provide guidelines for artists and manufacturers. Another use is to calculate the results of paint mixtures, to determine what paints to mix to produce a desired colour. Dr. Centore teaches math at Eastern Connecticut State University and continues his colour science and Munsell endeavors from his home in southeastern Connecticut. 

Color is Magic: Albers' Exercises
Workshop with Lois Swirnoff 

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A workshop session inspired by Josef Albers' seminal text Color Interactions. Participants will explore the appearance of color in contexts and by juxtaposition using the material of ColorAid papers.

Note: Professor Swirnoff's workshop Expanding Color Interactions with Form and Space is offered on Friday morning.


Known for her creativity, Prof. Lois Swirnoff's work on color is recognized internationally. Following graduation from The Cooper Union School of Art in NY, Josef Albers admitted her to his graduate program at Yale where she received her BFA and MFA Summa Cum Laude. She taught color courses at a number of universities including Harvard, Wellesley, University of California and Cooper Union.  A Fulbright fellow in Italy, she designed large scale installations of color as light.  She is the author of Dimensional Color, a book on color and form and The Color of Cities: An International Perspective.

Psychological Analysis with the Color Image Scale
Workshop with Setsuko Horiguchi and Katsura Iwamatsu  

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The Color Image Scale, developed by Nippon Color Design Research Institute (NCD) and its founder Shigenobu Kobayashi (1925-2010), is a revolutionary 3D modeling system for psychological color space with Warm-Cool, Soft-Hard, and Clear-Grayish axes. Based on decades of research, it depicts the psychological effect of color combinations using the least number of index colors possible. The research, based on Munsell Color System and started in the early 1970’s, was initially focused on individual colors, but gradually shifted its attention towards the psychological impact and pragmatic use of color. By incorporating the semantics and human perception to the traditional color anatomy, the final product offers a cultural and societal understanding of color that serves a wide variety of commercial and educational purposes.

Although based primarily on adjectives culled from the Japanese language, Color Image Scale is highly adaptable for cross-cultural comparative study of color design. In the workshop, we will offer a systematic view of the semantics of color, and outline the color-based structure of people’s relationship to their culture and environment. After creating 3-color combinations using 130 color samples (10 Hues x 12 Tones, plus 10 Neutrals) to match certain adjectival themes, the participants will work in groups to analyze the results according to Color Image Scale. Through this exercise exposing the audience to the vast possibility of color combinations, and through the following discussion, the workshop will offer new insights into the semantics of color.

Note: This workshop is also offered on Friday morning.


Setsuko Horiguchi graduated from the department of psychology of Waseda University in Tokyo in 1981 and joined Nippon Color & Design (NCD) Research Institute Inc. in April of 1981. Since then she has worked as a planning manager, consultant, and seminar lecturer in the fields of fashion, product, food, retail, housing, environment.  She is the editor of the biannual Japanese periodical of color trend forecast, "Season Image Color" and co-author of "Basic Knowledge of Color Image", Tokyo: David publishing co., 1995. In addition to her work with NCD, she is a member of the Japan Sensory Engineering Association, Part-time lecturer at Kyoei University, Kyoei Gakuen Junior College, Part-time lecturer at the Tokyo Nutrition Foods College, Lecturer at the Nippon Barber Beauty Education Center, and a Landscape Advisor for Taito City of Tokyo.

Katsura Iwamatsu joined the Nippon Color and Design (NCD) Research Institute Inc. in 1981 as the research assistant and secretary of president Shigenobu Kobayashi and later worked as lecturer of seminars, assistant manager of project planning and editorial works. From 1999 to 2008 she was a freelance editor with publisher Kodansha for several books of NCD such as "Color System", "Practical Color Design", "Color Image Scale." She is currently a research fellow in NCD. 

Three Hour Field Trips

Harvard: The Scientific Equipment of Munsell, Land and Munsterberg 

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Harvard has acquired scientific instruments on a continuous basis for teaching and research since 1672.  In 2006, Harvard’s Collection of Historical Scientific Instruments relocated from its hiding place in the basement of the Science Center to the main floor of the Putnam Gallery. 

The highlight of this field trip will be a special seminar presented by the collection staff to examine instruments related to color analysis and vision.  These will include Edwin H. Land’s laboratory apparatus, early Munsell color globes and related instruments from the experimental psychology laboratory of Hugo Munsterberg (circa 1890s-1910s).

Note: This field trip is also offered on Tuesday afternoon.

Harvard: Straus Center for Conservation and Technical Studies and the Forbes Pigment Collection   FULL

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The Straus Center for Conservation and Technical Studies at Harvard's Fogg Art Museum is a world leader in fine arts conservation, research, and training. The center’s laboratories are where conservation, conservation science, and curatorial practice intersect, coming together to enrich the understanding of and care for the approximately 250,000 objects in the Harvard Art Museums’ collections.

The visit will include a presentation by a conversation coordinator on the work of the lab from the viewing windows in the LightBox Gallery as well as a special tour of the Forbes Pigment Collection for a limited number of attendees. 

MIT: Exhibits in the Media Lab Gallery


The MIT Media Lab was founded by MIT Professor Nicholas Negroponte and the late Jerome Wiesner (former science advisor to president John F. Kennedy and former president of MIT), who foresaw the coming convergence of computing, publishing, and broadcast, fueled by changes in the communications industry.  True to the vision of its founders, today's Media Lab continues to focus on the study, invention, and creative use of digital technologies to enhance the ways that people think, express, and communicate ideas, and explore new scientific frontiers.

“Media means ways to communicate, and the Media Lab is about communication among disciplines.”

Boston Museum of Fine Arts (MFA) 


The original MFA opened its doors to the public on July 4, 1876, the nation’s centennial. Built in Copley Square, the MFA was then home to 5,600 works of art. Over the next several years, the collection and number of visitors grew exponentially, and in 1909 the Museum moved to its current home on Huntington Avenue.

Today the MFA is one of the most comprehensive art museums in the world; the collection encompasses nearly 500,000 works of art. The museum welcomes more than one million visitors each year to experience art from ancient Egyptian to contemporary, special exhibitions, and innovative educational programs.