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.
Wednesday, June 13 - AM General Session
Teaching Color in Art and Design
The talk will start by examining the development of color-teaching from the earliest important source, Giovan Paolo Lomazzo’s ‘Treatise on the art of painting’, of 1584, through the many books variously influenced by it, to later textbooks on color for artists that were increasingly influenced, after Isaac Newton’s ‘Opticks’ (1704), by discoveries in the sciences, especially physics, vision and psychophysics. The talk will conclude with a brief examination of such Modernist color teachers as Paul Klee, Johannes Itten, and Josef Albers, and the opportunities and limitations offered by their well-documented approaches to teaching color in art and design.
Tuesday, June 12 - AM Breakout Session Tutorial
An Artist's Approach to Teaching Color
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.