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Jose Luis Caivano

Universidad de Buenos Aires, Facultad de Arquitectura, Diseño y Urbanismo, Faculty Member

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More than a hundred publications can be freely downloaded from:
Pueden descargarse mas de cien publicaciones gratuitamente de:

https://colorysemiotica.wordpress.com/publicaciones/libros/
(books / libros)

https://colorysemiotica.wordpress.com/publicaciones/en-revistas-arbitradas/
(articles in referred journals / articulos en revistas arbitradas)

https://colorysemiotica.wordpress.com/publicaciones/en-libros/
(articles in books / articulos en libros)

https://colorysemiotica.wordpress.com/publicaciones/en-revistas-no-arbitradas/
(articles in non-referred journals / articulos en revistas no arbitradas)

https://colorysemiotica.wordpress.com/publicaciones/entrevistas-y-divulgacion/
(notes and interviews / notas y entrevistas)
Address: Buenos Aires, Argentina

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Fernando Andacht

Universidad de la República (Uruguay)

Université Paris III - Sorbonne Nouvelle

Isabella Pezzini

Università degli Studi "La Sapienza" di Roma

Alfredo Tenoch Cid Jurado

Universidad de Buenos Aires

Kristian Bankov

New Bulgarian University

Gianmarco Thierry Giuliana

Università degli Studi di Torino

Università degli Studi di Torino

Universidad de Buenos Aires

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Papers by Jose Luis Caivano

A Gradualist Perspective for the Semiotic Approach to Visual Images

Proceedings of the 14th World Congress of the International Association for Semiotic Studies (IASS/AIS), 2021

Todos los derechos reservados. Ninguna parte de esta publicación debe ser reproducida, almacenada... more Todos los derechos reservados. Ninguna parte de esta publicación debe ser reproducida, almacenada en un sistema de recuperación ni transmitida bajo ninguna forma ni por ningún medio, ya sea electrónico, mecánico, de fotocopiado, grabación o cualquier otro medio, sin el permiso de los editores. Los editores rechazan cualquier responsabilidad en caso de declaraciones falsas o erróneas de los autores, contenido plagiado y uso no autorizado de material con derechos de autor.

Sinestesia visual y auditiva: la relación entre color y sonido desde un enfoque semiótico (2003)

DeSignis: Publicación de la Federación Latinoamericana de Semiótica (FELS), 2003

The representation of the visual world in photography (2008)

CGIV 2008, Proceedings of the 4th European Conference on Colour in Graphics, Imaging, and Vision, 2008

As a visual sign, a photographic image usually represents an object or a scene; this is the habit... more As a visual sign, a photographic image usually represents an object or a scene; this is the habitual way of seeing it. But it accomplishes that common semiotic task by representing various formal features of the object or scene: its color, shape, texture and spatial distribution of light. The curious fact is that photography does this in very different ways. With respect to color, a pigmented object produces a certain spectral distribution of light, and an ordinary photograph of that object causes approximately the same spectral distribution. The pigmented emulsions of the photographic paper act upon light in the same way as the pigmentation of the objects. In this sense, photography represents color by sharing physical properties with the objects. In truth, instead of representing color, it reproduces color. We have an indexical aspect of photography here (an index being a sign that is physically connected to the object that it represents). This is quite different from what occurs with the representation of the spatial distributions of light (transparency, translucency, mirror-like appearance, gloss, matt quality, etc.) by photography. A glass of water is a physically transparent object that generates the visual sensation of transparency, but a photograph of that glass, being an opaque object in itself (the substratum is an opaque piece of paper), also conveys the sensation of transparency. Summing up, photography represents the spatial distributions of light not by sharing physical features with the objects, but by means of a transformation that brings about a certain kind of similarity. In this sense, we could speak of iconicity (an icon being a sign that refers to its object by means of some kind of similarity with it). This paper will present a survey of these and other semiotic categories involved in photography when representing color and the perceived spatial distributions of light.

The representation of the visual world in photography (2008)

CGIV 2008, Proceedings of the 4th European Conference on Colour in Graphics, Imaging, and Vision, 2008

As a visual sign, a photographic image usually represents an object or a scene; this is the habit... more As a visual sign, a photographic image usually represents an object or a scene; this is the habitual way of seeing it. But it accomplishes that common semiotic task by representing various formal features of the object or scene: its color, shape, texture and spatial distribution of light. The curious fact is that photography does this in very different ways. With respect to color, a pigmented object produces a certain spectral distribution of light, and an ordinary photograph of that object causes approximately the same spectral distribution. The pigmented emulsions of the photographic paper act upon light in the same way as the pigmentation of the objects. In this sense, photography represents color by sharing physical properties with the objects. In truth, instead of representing color, it reproduces color. We have an indexical aspect of photography here (an index being a sign that is physically connected to the object that it represents). This is quite different from what occurs ...

Imagen síntesis. Organización cromática de la arquitectura en relación al paisaje: Clorindia doméstica (2019)

SI+Imágenes, Prácticas de investigación y cultura visual, 2020

La condición gradualista de las imágenes visuales (2019)

SI+Imágenes, Prácticas de investigación y cultura visual, 2020

Report of activities of the Environmental Color Design Study Group (Abstract Only)

9th Congress of the International Colour Association, 2002

The MC Study Group on Environmental Color Design (ECD) is an international community of scientist... more The MC Study Group on Environmental Color Design (ECD) is an international community of scientists, designers, architects, artists and other professionals with a specific interest in color as a means of environmental design and its effects on human emotion, cognition and behavior. The general aims are: the exchange of knowledge and experience among its members; the stimulation of research and teaching, meetings and exhibitions; the propagation ofknowledge and experiences through congresses, seminars, workshops, publications and exhibitions.

Interactive bibliographical database on color

9th Congress of the International Colour Association, 2002

The paper describes the methodology and results of a project under development, aimed at the elab... more The paper describes the methodology and results of a project under development, aimed at the elaboration of an interactive bibliographical database on color in all fields of application: philosophy, psychology, semiotics, education, anthropology, physical and natural sciences, biology, medicine, technology, industry, architecture and design, arts, linguistics, geography, history. The project is initially based upon an already developed bibliography, published in

A cross-cultural comparison of colour emotion for two-colour combinations (2012)

Color Research and Application, 2012

gentina, and Iran to assess colour emotion for two-colour combinations using semantic scales warm... more gentina, and Iran to assess colour emotion for two-colour combinations using semantic scales warm/cool, heavy/ light, active/passive, and like/dislike. A total of 223 observers participated, each presented with 190 colour pairs as the stimuli, shown individually on a cathode ray tube display. The results show consistent responses across cultures only for warm/cool, heavy/light, and active/passive. The like/dislike scale, however, showed some differences between the observer groups, in particular between the Argentinian responses and those obtained from the other observers. Factor analysis reveals that the Argentinian observers preferred passive colour pairs to active ones more than the other observers. In addition to the cultural difference in like/dislike, the experimental results show some effects of gender, professional background (design vs. nondesign), and age. Female observers were found to prefer colour pairs with high-lightness or lowchroma values more than their male counterparts. Observers with a design background liked low-chroma V

Color order systems (2022)

Encyclopedia of Color Science and Technology, 2nd. ed., 2022

Jose Luis Caivano y Antal Nemcsics. “Color order systems”. En: Encyclopedia of Color Science and ... more

Polychromy (2022)

Encyclopedia of Color Science and Technology, 2nd. ed., 2022

Polychromy refers to the combination of many colors in a visual scene, whether it is a natural la... more Polychromy refers to the combination of many colors in a visual scene, whether it is a natural landscape or a man-made arrangement of things, for instance, a piece of art, a design, an object, a building, an urban landscape, etc. The word is formed by the Greek words poly (many) and chroma (color).

“Polychromy”, en Encyclopedia of Color Science and Technology, 2da edición, editor general R. Shamey, editor de la sección Art and Design, J. Caivano (Berlín: Springer, ed. online 2022, doi 10.1007/978-3-642-27851-8_248-2), 8 págs.

Appearance (2022)

Encyclopedia of Color Science and Technology, 2nd. ed, 2022

José Luis Caivano y Paul Green-Armytage. “Appearance”. En: Encyclopedia of Color Science and Tech... more

Rhetoric and symmetry: a neglected linkage (2001)

Symmetry: Art and Science (ISSN 0865-4824), 2001

“Rhetoric and symmetry: a neglected linkage”. Symmetry: Art and Science (ISSN 0865-4824), edic. e... more

The visual representation of movement: from chaos to order through semiosis and symmetry (1999)

Symmetry: Culture and Science (ISSN 0865-4824), 1999

“The visual representation of movement: from chaos to order through semiosis and symmetry”. Symme... more

A cross-cultural comparison of colour emotion for two-colour combinations (2012)

Color Research and Application , 2012

“A cross-cultural comparison of colour emotion for two-colour combinations”. Color Research and A... more

Apuntes sobre la textura visual (2008)

AREA, agenda de reflexión en arquitectura, diseño y urbanismo (ISSN 0328-1337), 2008

“Apuntes sobre la textura visual”. AREA (agenda de reflexión en arquitectura, diseño y urbanismo)... more

La investigación sobre color en la arquitectura: breve historia, desarrollos actuales y posible futuro (2008)

Optica Pura y Aplicada (ISSN 0030-3917), 2008

Artículo invitado / Invited paper Celebración del 40 aniversario de SEDOPTICA / Celebrating 40 th... more Artículo invitado / Invited paper Celebración del 40 aniversario de SEDOPTICA / Celebrating 40 th SEDOPTICA anniversary La investigación sobre color en la arquitectura: Breve historia, desarrollos actuales y posible futuro The research on color in architecture: Brief history, current developments, and possible future

Cesia: its relation to color in terms of the trichromatic theory (1996)

Die Farbe (ISSN 0014-7680) , 1996

“Cesia: Its relation to color in terms of the trichromatic theory”. Die Farbe (ISSN 0014-7680) vo... more

Color y semiótica: un camino en dos direcciones (1995)

Cruzeiro Semiótico (revista de la Asociación Portuguesa de Semiótica, ISSN 0870-6832) , 1995

COLOR Y SEMIÓTICA: UN CAMINO EN DOS DIRECCIONES Generalidades sobre color y semiótica ¿Qué puede ... more COLOR Y SEMIÓTICA: UN CAMINO EN DOS DIRECCIONES Generalidades sobre color y semiótica ¿Qué puede ofrecer a la ciencia del color la perspectiva semiótica en relación a las perspectivas física, fisiológica y psicológica? La tesis es que la semiótica, como disciplina que está en la base de todos los sistemas cognitivos biológicos, humanos y no humanos, engloba y provee el marco epistemológico adecuado para todas las otras perspectivas. Si consideramos el color como signo, estamos incluyendo todos los aspectos, ya que un signo no es una cosa definida previamente, sino una consecuencia de varios factores y del contexto en que es tomado como tal. El color puede funcionar como signo para un fenómeno físico, para un mecanismo fisiológico o para una asociación psicológica. El signo, siguiendo la concepción de Charles S.

Sidelights on visual texture (1994)

Leonardo (ISSN 0024-094X), 1994

“Sidelights on visual texture”. Leonardo (Journal of the International Society for the Arts Scien... more

A Gradualist Perspective for the Semiotic Approach to Visual Images

Proceedings of the 14th World Congress of the International Association for Semiotic Studies (IASS/AIS), 2021

Todos los derechos reservados. Ninguna parte de esta publicación debe ser reproducida, almacenada... more Todos los derechos reservados. Ninguna parte de esta publicación debe ser reproducida, almacenada en un sistema de recuperación ni transmitida bajo ninguna forma ni por ningún medio, ya sea electrónico, mecánico, de fotocopiado, grabación o cualquier otro medio, sin el permiso de los editores. Los editores rechazan cualquier responsabilidad en caso de declaraciones falsas o erróneas de los autores, contenido plagiado y uso no autorizado de material con derechos de autor.

Sinestesia visual y auditiva: la relación entre color y sonido desde un enfoque semiótico (2003)

DeSignis: Publicación de la Federación Latinoamericana de Semiótica (FELS), 2003

The representation of the visual world in photography (2008)

CGIV 2008, Proceedings of the 4th European Conference on Colour in Graphics, Imaging, and Vision, 2008

As a visual sign, a photographic image usually represents an object or a scene; this is the habit... more As a visual sign, a photographic image usually represents an object or a scene; this is the habitual way of seeing it. But it accomplishes that common semiotic task by representing various formal features of the object or scene: its color, shape, texture and spatial distribution of light. The curious fact is that photography does this in very different ways. With respect to color, a pigmented object produces a certain spectral distribution of light, and an ordinary photograph of that object causes approximately the same spectral distribution. The pigmented emulsions of the photographic paper act upon light in the same way as the pigmentation of the objects. In this sense, photography represents color by sharing physical properties with the objects. In truth, instead of representing color, it reproduces color. We have an indexical aspect of photography here (an index being a sign that is physically connected to the object that it represents). This is quite different from what occurs with the representation of the spatial distributions of light (transparency, translucency, mirror-like appearance, gloss, matt quality, etc.) by photography. A glass of water is a physically transparent object that generates the visual sensation of transparency, but a photograph of that glass, being an opaque object in itself (the substratum is an opaque piece of paper), also conveys the sensation of transparency. Summing up, photography represents the spatial distributions of light not by sharing physical features with the objects, but by means of a transformation that brings about a certain kind of similarity. In this sense, we could speak of iconicity (an icon being a sign that refers to its object by means of some kind of similarity with it). This paper will present a survey of these and other semiotic categories involved in photography when representing color and the perceived spatial distributions of light.

The representation of the visual world in photography (2008)

CGIV 2008, Proceedings of the 4th European Conference on Colour in Graphics, Imaging, and Vision, 2008

As a visual sign, a photographic image usually represents an object or a scene; this is the habit... more As a visual sign, a photographic image usually represents an object or a scene; this is the habitual way of seeing it. But it accomplishes that common semiotic task by representing various formal features of the object or scene: its color, shape, texture and spatial distribution of light. The curious fact is that photography does this in very different ways. With respect to color, a pigmented object produces a certain spectral distribution of light, and an ordinary photograph of that object causes approximately the same spectral distribution. The pigmented emulsions of the photographic paper act upon light in the same way as the pigmentation of the objects. In this sense, photography represents color by sharing physical properties with the objects. In truth, instead of representing color, it reproduces color. We have an indexical aspect of photography here (an index being a sign that is physically connected to the object that it represents). This is quite different from what occurs ...

Imagen síntesis. Organización cromática de la arquitectura en relación al paisaje: Clorindia doméstica (2019)

SI+Imágenes, Prácticas de investigación y cultura visual, 2020

La condición gradualista de las imágenes visuales (2019)

SI+Imágenes, Prácticas de investigación y cultura visual, 2020

Report of activities of the Environmental Color Design Study Group (Abstract Only)

9th Congress of the International Colour Association, 2002

The MC Study Group on Environmental Color Design (ECD) is an international community of scientist... more The MC Study Group on Environmental Color Design (ECD) is an international community of scientists, designers, architects, artists and other professionals with a specific interest in color as a means of environmental design and its effects on human emotion, cognition and behavior. The general aims are: the exchange of knowledge and experience among its members; the stimulation of research and teaching, meetings and exhibitions; the propagation ofknowledge and experiences through congresses, seminars, workshops, publications and exhibitions.

Interactive bibliographical database on color

9th Congress of the International Colour Association, 2002

The paper describes the methodology and results of a project under development, aimed at the elab... more The paper describes the methodology and results of a project under development, aimed at the elaboration of an interactive bibliographical database on color in all fields of application: philosophy, psychology, semiotics, education, anthropology, physical and natural sciences, biology, medicine, technology, industry, architecture and design, arts, linguistics, geography, history. The project is initially based upon an already developed bibliography, published in

A cross-cultural comparison of colour emotion for two-colour combinations (2012)

Color Research and Application, 2012

gentina, and Iran to assess colour emotion for two-colour combinations using semantic scales warm... more gentina, and Iran to assess colour emotion for two-colour combinations using semantic scales warm/cool, heavy/ light, active/passive, and like/dislike. A total of 223 observers participated, each presented with 190 colour pairs as the stimuli, shown individually on a cathode ray tube display. The results show consistent responses across cultures only for warm/cool, heavy/light, and active/passive. The like/dislike scale, however, showed some differences between the observer groups, in particular between the Argentinian responses and those obtained from the other observers. Factor analysis reveals that the Argentinian observers preferred passive colour pairs to active ones more than the other observers. In addition to the cultural difference in like/dislike, the experimental results show some effects of gender, professional background (design vs. nondesign), and age. Female observers were found to prefer colour pairs with high-lightness or lowchroma values more than their male counterparts. Observers with a design background liked low-chroma V

Color order systems (2022)

Encyclopedia of Color Science and Technology, 2nd. ed., 2022

Jose Luis Caivano y Antal Nemcsics. “Color order systems”. En: Encyclopedia of Color Science and ... more

Polychromy (2022)

Encyclopedia of Color Science and Technology, 2nd. ed., 2022

Polychromy refers to the combination of many colors in a visual scene, whether it is a natural la... more Polychromy refers to the combination of many colors in a visual scene, whether it is a natural landscape or a man-made arrangement of things, for instance, a piece of art, a design, an object, a building, an urban landscape, etc. The word is formed by the Greek words poly (many) and chroma (color).

“Polychromy”, en Encyclopedia of Color Science and Technology, 2da edición, editor general R. Shamey, editor de la sección Art and Design, J. Caivano (Berlín: Springer, ed. online 2022, doi 10.1007/978-3-642-27851-8_248-2), 8 págs.

Appearance (2022)

Encyclopedia of Color Science and Technology, 2nd. ed, 2022

José Luis Caivano y Paul Green-Armytage. “Appearance”. En: Encyclopedia of Color Science and Tech... more

Rhetoric and symmetry: a neglected linkage (2001)

Symmetry: Art and Science (ISSN 0865-4824), 2001

“Rhetoric and symmetry: a neglected linkage”. Symmetry: Art and Science (ISSN 0865-4824), edic. e... more

The visual representation of movement: from chaos to order through semiosis and symmetry (1999)

Symmetry: Culture and Science (ISSN 0865-4824), 1999

“The visual representation of movement: from chaos to order through semiosis and symmetry”. Symme... more

A cross-cultural comparison of colour emotion for two-colour combinations (2012)

Color Research and Application , 2012

“A cross-cultural comparison of colour emotion for two-colour combinations”. Color Research and A... more

Apuntes sobre la textura visual (2008)

AREA, agenda de reflexión en arquitectura, diseño y urbanismo (ISSN 0328-1337), 2008

“Apuntes sobre la textura visual”. AREA (agenda de reflexión en arquitectura, diseño y urbanismo)... more

La investigación sobre color en la arquitectura: breve historia, desarrollos actuales y posible futuro (2008)

Optica Pura y Aplicada (ISSN 0030-3917), 2008

Artículo invitado / Invited paper Celebración del 40 aniversario de SEDOPTICA / Celebrating 40 th... more Artículo invitado / Invited paper Celebración del 40 aniversario de SEDOPTICA / Celebrating 40 th SEDOPTICA anniversary La investigación sobre color en la arquitectura: Breve historia, desarrollos actuales y posible futuro The research on color in architecture: Brief history, current developments, and possible future

Cesia: its relation to color in terms of the trichromatic theory (1996)

Die Farbe (ISSN 0014-7680) , 1996

“Cesia: Its relation to color in terms of the trichromatic theory”. Die Farbe (ISSN 0014-7680) vo... more

Color y semiótica: un camino en dos direcciones (1995)

Cruzeiro Semiótico (revista de la Asociación Portuguesa de Semiótica, ISSN 0870-6832) , 1995

COLOR Y SEMIÓTICA: UN CAMINO EN DOS DIRECCIONES Generalidades sobre color y semiótica ¿Qué puede ... more COLOR Y SEMIÓTICA: UN CAMINO EN DOS DIRECCIONES Generalidades sobre color y semiótica ¿Qué puede ofrecer a la ciencia del color la perspectiva semiótica en relación a las perspectivas física, fisiológica y psicológica? La tesis es que la semiótica, como disciplina que está en la base de todos los sistemas cognitivos biológicos, humanos y no humanos, engloba y provee el marco epistemológico adecuado para todas las otras perspectivas. Si consideramos el color como signo, estamos incluyendo todos los aspectos, ya que un signo no es una cosa definida previamente, sino una consecuencia de varios factores y del contexto en que es tomado como tal. El color puede funcionar como signo para un fenómeno físico, para un mecanismo fisiológico o para una asociación psicológica. El signo, siguiendo la concepción de Charles S.

Sidelights on visual texture (1994)

Leonardo (ISSN 0024-094X), 1994

“Sidelights on visual texture”. Leonardo (Journal of the International Society for the Arts Scien... more

Guía para realizar, escribir y publicar trabajos de investigación (1995)

Guía para realizar, escribir y publicar trabajos de investigación, 1995

Índice: 1. Por dónde comienza la investigación. 2. La búsqueda de datos. 3. La organización de lo... more Índice: 1. Por dónde comienza la investigación. 2. La búsqueda de datos. 3. La organización de los datos. 4. La etapa de la escritura. 5. La incorporación de material de sustento. 6. Sistemas de referencias. 7. Presentación del escrito. 8. La publicación del trabajo. Referencias bibliográficas. Bibliografía complementaria. Índice de nombres y materias

Guía para realizar, escribir y publicar trabajos de investigación (1995)

Guía para realizar, escribir y publicar trabajos de investigación (Buenos Aires: Arquim, 1995, IS... more

Chronological bibliography on color theory

Color in food: technological and psychophysical aspects (2012)

by Jose Luis Caivano and Pilar Buera

José Luis Caivano y María Pilar Buera, eds. Color in Food: Technological and Psychophysical Aspec... more

AIC 2010 Color and Food: From the Farm to the Table, Proceedings of the Interim Meeting of the International Color Association (2010)

AIC 2010 Color and Food: From the Farm to the Table, Proceedings of the Interim Meeting of the In... more

AIC 2004, Color and Paints, Proceedings of the Interim Meeting of the International Color Association (2004)

AIC 2004, Color and Paints, Proceedings of the Interim Meeting of the International Color Associa... more

Sistemas de orden del color (1995)

Sistemas de orden del color (Buenos Aires: Secretaría de Investigaciones FADU-UBA, Serie Difusión... more

Lo masculino, lo femenino y su relación con el color (2021)

2° Congreso Internacional y 5° Encuentro Mexicano del Color, México, realizado en forma virtual, ... more

Color order systems, color mixtures and the role of cesia (2020)

Congreso Russia Color 2020, Smolensk, realizado en formato virtual, 1-5 diciembre 2020. Conferenc... more

Color from a gradualist perspective (2018)

AIC Interim Meeting 2018 – Color and Comfort, Lisboa, Portugal, 25-29 septiembre 2018. Conferenci... more

Historia de los sistemas de ordenamiento del color desarrollados en relación con la arquitectura (2010)

9° Congreso Español del Color, Alicante, España, 29 junio - 2 julio 2010. Conferencia invitada: “... more 9° Congreso Español del Color, Alicante, España, 29 junio - 2 julio 2010. Conferencia invitada: “Historia de los sistemas de ordenamiento del color desarrollados en relación con la arquitectura”. Video disponible en
https://zebra.cpd.ua.es/vertice/2460 y en www.youtube.com/watch?v=E7G4rffPC1s

Sistemas de ordenamiento del color, mezclas cromáticas y la función de la cesía (2021)

conferencia para Amexinc, Asociación Mexicana de Investigadores del Color, ciclo “Conversatorios”... more

La construcción del mundo visual: el concepto de apariencia como categoría inclusiva en la cognición visual humana (2013)

XI Jornadas Regionales de Investigación en Humanidades y Ciencias Sociales, San Salvador de Jujuy... more XI Jornadas Regionales de Investigación en Humanidades y Ciencias Sociales, San Salvador de Jujuy, Argentina, 19-21 junio. Conferencia plenaria invitada: “La construcción del mundo visual: el concepto de apariencia como categoría inclusiva en la cognición visual humana”. Video en www.youtube.com/watch?v=7bJriIxSplY

Todo lo que los arquitectos siempre quisieron saber sobre el color (pero temían preguntar) (2021)

AREA, agenda de reflexión en arquitectura, diseño y urbanismo , 2021

Todo lo que los arquitectos siempre quisieron saber sobre el color (pero temían preguntar). [Arch... more Todo lo que los arquitectos siempre quisieron saber sobre el color (pero temían preguntar). [Archivo PDF]. AREA, 27(2), pp. 1-3. Recuperado de https://www.area.fadu.uba.ar/ wp-content/uploads/AREA2702/2702_R_caivano.pdf
“Todo lo que los arquitectos siempre quisieron saber sobre el color (pero temían preguntar)”. AREA (agenda de reflexión en arquitectura, diseño y urbanismo) (Buenos Aires, FADU-UBA, ISSN versión digital 2591-5312) N° 27 (2), mayo-octubre 2021, págs. 1-3.

Book Review: Color for architects, by Juan Serra Lluch (2021)

Color Research and Application, 2021

“Book Review: Color for architects, by Juan Serra Lluch”. Color Research and Application (ISSN 03... more