AUSTIN, TX.- Ian Goldsmith’s
Color Theory for Artists: Everything you need to know about working with colour is an extraordinarily comprehensive and practical resource, one that seems destined to become a go-to reference on every artist’s shelf. This beautifully designed hardcover, published by Ilex Press, manages to distill complex concepts of color into accessible, tangible lessons that artists of all levels can apply directly to their practice.
From the very moment you open the book, you are greeted by exquisite, hand-painted color wheels and thoughtfully laid-out examples that introduce the fundamental building blocks of color. Goldsmith deftly breaks down intimidating topics—such as hue, saturation, value, and temperature—into approachable segments. He does this without ever underestimating the reader’s intelligence or oversimplifying the vast world of pigments. Instead, he guides you through the essentials of color theory step by step, starting with primary, secondary, and tertiary colors, and then proceeding into more subtle and sophisticated concepts like harmony, tonality, and the interplay of opacity versus transparency.
One of the book’s key strengths is the way it blends aesthetic beauty with hands-on practicality. Rather than rely solely on digital reproductions or theoretical charts, Goldsmith offers a wealth of meticulously hand-painted swatches and wheels. These visual aids demonstrate how different pigments interact with each other in the real world, under natural light, and in various combinations. This approach grounds theory in practice, helping readers visualize how slight shifts in mixing can yield dramatically different hues. For those accustomed to mixing colors on their palette and often feeling uncertain about the outcome, seeing such detailed charts and explanations can be a true revelation.
Goldsmith’s perspective as a practicing British portrait artist—and as the founder of the Contemporary British Portrait Painters group—is evident throughout the book. Drawing on years of practical experience, he includes valuable anecdotes on how he has personally resolved color challenges in his own work, whether struggling with subtle flesh tones in portraiture or striving to balance bold color contrasts in a modern background. These real-world examples lend a warmth and authority to the text that feels both personal and encouraging. His tone throughout is never condescending or overly academic; instead, it is welcoming, enthusiastic, and wonderfully infectious. You can sense his genuine passion for color and how that passion has propelled him to create a resource that will inspire others.
While the book shines in its visual demonstrations, it also excels as a reference for artists who need to deepen their understanding of pigments and materials. At the back, a comprehensive paint index offers indispensable guidance for choosing and purchasing supplies. By including comparisons of different pigment types, properties, and brands, Goldsmith effectively demystifies a topic that can overwhelm artists when standing before shelves of tubes in an art supply store. The index details not only hue and texture, but also nuances in quality and reliability. This thoughtful inclusion makes it clear that the book’s mission isn’t just to teach theory; it’s to facilitate confident, informed decision-making, allowing readers to invest wisely in materials that best suit their work.
Another key aspect is the attention given to harmony and tonality. Goldsmith eloquently explains how colors work together to create a cohesive image—one that both pleases the eye and communicates a desired mood or narrative. He encourages experimentation, illustrating that harmonious combinations aren’t limited to “safe” palettes. By showing readers how to push the boundaries and still maintain visual balance, he elevates the reader’s ability to think more like a seasoned colorist and less like a hesitant beginner.
The careful attention to detail and organization is reflected in the book’s structure as well. Concepts build logically, with each chapter scaffolding upon the last. By the time you reach more advanced discussions about subtle tonal shifts or manipulating saturation to direct the viewer’s eye, you feel prepared because the groundwork has been laid so expertly. Whether you are a relative newcomer just dipping a brush into paint for the first time, or an established artist seeking to refine your understanding of color, you will find the material both invigorating and practically useful.
Ultimately, Color Theory for Artists succeeds because it understands what artists truly need: a balance of inspiration, knowledge, and encouragement. The book isn’t merely an academic text; it feels like a studio companion—one that sits on the corner of your worktable, ready to help solve problems, spark ideas, and remind you that color, at its core, is a language. Goldsmith’s book teaches you to speak that language fluently and confidently. For anyone who wants to transform their relationship with color and elevate the expressive power of their work, this meticulously crafted volume is a must-have.
