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What are the various atmospheres or moods that the reading of literary works can trigger? Hans Ulrich Gumbrecht has long argued that the function of literature is not so much to describe, or to re-present, as to make present. Here, he goes one step further, exploring the substance and reality of language as a material component of the world—impalpable hints, tones, and airs that, as much as they may be elusive, are no less matters of actual fact. Reading, we discover, is an experiencing of specific moods and atmospheres, or Stimmung. These moods are on a continuum akin to a musical scale. They present themselves as nuances that challenge our powers of discernment and description, as well as language's potential to capture them. Perhaps the best we can do is to point in their direction. Conveying personal encounters with poetry, song, painting, and the novel, this book thus gestures toward the intangible and in the process, constitutes a bold defense of the subjective experience of the arts.
The watercolor clock shows artists how to manipulate watercolor materials for dazzling, atmospheric effects.
Unlike many other art books only give recipes for mixing colors or describe step-by-step painting techniques, *Color and Light* answers the questions that realist painters continually ask, such as: "What happens with sky colors at sunset?", "How do colors change with distance?", and "What makes a form look three-dimensional?" Author James Gurney draws on his experience as a plain-air painter and science illustrator to share a wealth of information about the realist painter's most fundamental tools: color and light. He bridges the gap between abstract theory and practical knowledge for traditional and digital artists of all levels of experience.
"A wordless graphic novel in which twelve-year-old Marisol must adapt to a new life 1960s Brooklyn after her parents send her to the United States from Cuba to keep her safe during Castro's regime."--
The bestselling Emotion Thesaurus, often hailed as “the gold standard for writers” and credited with transforming how writers craft emotion, has now been expanded to include 56 new entries! One of the biggest struggles for writers is how to convey emotion to readers in a unique and compelling way. When showing our characters’ feelings, we often use the first idea that comes to mind, and they end up smiling, nodding, and frowning too much. If you need inspiration for creating characters’ emotional responses that are personalized and evocative, this ultimate show-don’t-tell guide for emotion can help. It includes: • Body language cues, thoughts, and visceral responses for over 130 emotions that cover a range of intensity from mild to severe, providing innumerable options for individualizing a character’s reactions • A breakdown of the biggest emotion-related writing problems and how to overcome them • Advice on what should be done before drafting to make sure your characters’ emotions will be realistic and consistent • Instruction for how to show hidden feelings and emotional subtext through dialogue and nonverbal cues • And much more! The Emotion Thesaurus, in its easy-to-navigate list format, will inspire you to create stronger, fresher character expressions and engage readers from your first page to your last.
Webpage containing full text of the poem when we two parted/ by George Gordon Byron, Lord Byron.
This book adheres to the vision that in the future compelling user experiences will be key differentiating benefits of products and services. It is the first book to combine academic and business viewpoints on measuring user experiences for product development. The book gathers authors from different backgrounds. This is a mosaic of their work, and that of Philips Research, in the assessment of user experience, covering the full range from academic research to commercial propositions.
"Atmosphere, function, security"--Cover.
Stunning watercolour title new in paperback. Leading watercolourist reveals the secrets behind his atmospheric, light-filled paintings. Watercolour is ideal for capturing the transient effects of light and, with compact and lightweight materials, is the perfect medium for plein-air painting. Leading watercolour painter David Curtis is a strong advocate of working on site, observing and capturing changing conditions and effects. In this beautifully illustrated book, he explains in detail his two main methods for working on location – for quick, loose studies and for more controlled and detailed paintings. He also shows how to collect reference material on the spot and develop this into resolved paintings back at the studio. He provides helpful instruction on interpreting light effects, with strong guidance on choosing materials, exploring techniques, composition, tone and colour and associated topics. This invaluable advice is complemented by a wealth of sketches, finished works and step-by-step demonstration paintings to illustrate different points and inspire further ideas. Reference Light and Mood in Watercolour hardback (9780713489552) Leading watercolourist reveals the secrets behind his light-filled paintings How to work en plein air to capture the transient effects of light How to collect reference material on location but paint in the studio Bestselling title new in paperback
Interest in sensory atmospheres and architectural and urban ambiances has been growing for over 30 years. A key figure in this field is acclaimed German philosopher Gernot Böhme whose influential conception of what atmospheres are and how they function has been only partially available to the English-speaking public. This translation of key essays along with an original introduction charts the development of Gernot Böhme's philosophy of atmospheres and how it can be applied in various contexts such as scenography, commodity aesthetics, advertising, architecture, design, and art. The phenomenological analysis of atmospheres has proved very fruitful and its most important, and successful, application has been within aesthetics. The material background of this success may be seen in the ubiquitous aestheticization of our lifeworld, or from another perspective, of the staging of everything, every event and performance. The theory of atmospheres becoming an aesthetic theory thus reveals the theatrical, not to say manipulative, character of politics, commerce, of the event-society. But, taken as a positive theory of certain phenomena, it offers new perspectives on architecture, design, and art. It made the spatial and the experience of space and places a central subject and hence rehabilitated the ephemeral in the arts. Taking its numerous impacts in many fields together, it initiated a new humanism: the individual as a living person and his or her perspective are taken seriously, and this fosters the ongoing democratization of culture, in particular the possibility for everybody to participate in art and its works.