Color Choices Stephen Quiller
ISBN 0-8230-0696-4
You have taken the color theory classes from EGA, listened to lectures from expert members, so why is it that sometimes your color choices for your pieces don’t look right? For those of us who learn better by reviewing examples instead of studying theoretical analyses, this may be a helpful book for you. Stephen Quiller, an acclaimed painter, presents his observa- tions and philosophies that can be readily adapted by the fiber artists.
Chapters 1, 2, 3, 4 progress from the basic to the details, from the color
wheel to the traditional color schemes – monochromatic, complementary, split complementary, and triadic – and the different moods that can be generated by each. Do not be
alarmed by the Quiller color wheel (as I was initially) – his color wheel being a precise correlation of colors to paint names and manufacturers. Using a generic color wheel is enough for our purpose to follow along – unless you want to mix your own color for dyeing. The highlight of these chapters are the studies pre- sented for each of the color schemes – how by changing hue, value, saturation, contrast, etc., it can sig- nificantly alter the impression of identical paintings. At the end of each color scheme, he presents exercis- es to spark your ideas for further study.
Chapter 5 talks about Going beyond Structured Color. This chapter is geared specifically towards painting, but the principles and philosophies for developing color sense can be applied towards any artistic princi- ples. According to Quiller: I want my color not to be a literal interpretation of what is out there, but a person- al vision of how I perceive it. He cited the great painters: their paintings [are] unique and memorable ..[because] they have a personal vision.. Their colors are their own..such as Thomas Moran, William Turner, John Singer Sargent, Winslow Homer, Vincent van Gogh, Claude Monet, etc. For the fiber artist this chapter can be skimmed if you are not interested in painting techniques.
Chapter 6 talks about Master Colorists and their work, their personal color usage that is unique to each artist and their strength. These include the Dutch masters, English painters, the impressionists and post- impressionists, and modern artists, with references to further research and museums where their works can be viewed.
This book is available at Amazon; and used copies can also be found. BUT our own Evergreen library has a copy! Contact our librarian to request a loan; while you’re at it, familiarize yourself with logging into our library catalog repository. (See page 15)
As a final note, I hope you had a chance to use the Joen Wolfrom Essential Color Wheel that Barbara Haugaard handed out in September last year. I was unsure of how to use it until I found the instructions in the pamphlet attached to the color wheel.
Helen Gottschalk received her Master Craftsman in Color from Laura Smith, and now chairs the EGA Master Program in Color. She is currently working her way through the Master Craftsman in Design and hopes to achieve Master Crafts- man in Design status in her lifetime. She is also your newsletter editor and appreciates your timely article submissions. ( )

Controlling the palette and the effects produced. Many examples. Also a color wheel for paint choices - good for both acrylic and watercolor.
Many exciting possibilities. Triads etc.
Also very good and comprehensive is : "Color and Light: A Guide for the Realist Painter" by James Gurney.
Not an instructional book but many examples of color control and lighting are in "The Fantasy Art Techniques Of Tim Hildebrandt",
Jack Norton (Author) ( )