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An experimental approach to the study and teaching of color is comprised of exercises in seeing color action and feeling color relatedness before arriving at color theory.
This charming board book series offers the littlest ones hours of fun. On each spread they find answer to a question by opening a flap-while learning about words, numbers, shapes, colors etc. Kids love them!
Starting from psychophysics, over the last 50 years, most progress in unravelling the mechanisms of color vision has been made through the study of single cell responses, mainly in LGN and striate cortex. A similar development in the study of form perception may seem to be underway, centred on the study of temporal cortex. However, because of the combinatorial characteristics of form perception, we are also observing the opposite tendency: from single-cell activity to population coding, and from static receptive field structures to system dynamics and integration and, ultimately, a synthetic form of psychophysics of color and form perception. From single cells to system integration: it is this development the present Research Topic wishes to highlight and promote. How does this development affect our views on the various attributes of perception? In particular, we are interested in to what extent evolving knowledge in the field of color perception is relevant within a developing integrative framework of form perception. The goal of this Research Topic is to bring together experimental research encompassing both color and form perception. For this volume, we planned a broad scope of topics – on color in complex scenes, color and form, as well as dynamic aspects of form perception. We expect that the Research Topic will be attractive to the community of researchers whose work straddles the boundary between the two visual perception fields, as well as to the wider community interested in integrative/systems neuroscience.
Design students today are more visually literate than ever before, and their learning style naturally favors the visual over the textual. So why should they learn art and design theory from a traditional textbook? The only guide of its kind, Line Color Form offers a thorough introduction to design theory and terminology in a visually appealing and accessible format. With hundreds of illustrations and minimal text, this primer was created with visual learners in mind, making it ideal for art students as well as those for whom English is a second language. Each chapter focuses on a single aspect of visual composition, such as line, color, or material. After an illustrated discussion of fundamental vocabulary, the chapters move on to applications of the concepts covered. These applications are again demonstrated through images, including photographs, color wheels, significant works of art, and other visual aids. Each image is accompanied by a descriptive paragraph offering an example of how the vocabulary can be applied in visual analysis. The book culminates with a section on formal analysis, aimed at teaching readers how to express their observations in formal writing and critical discourse. With its emphasis on the visual, this unique guide is a highly effective learning tool, allowing readers to gain an ownership and mastery of terms that will benefit them academically and professionally. Whether you are a design educator, student, or professional, native or non-native English speaker, this bright and concise reference is a must.
A Color Notation is a book written by Albert Henry Munsell, an American painter, teacher of art, and the inventor of the Munsell color system. Munsell color system is an early attempt at creating an accurate system for numerically describing colors. The Munsell color order system has gained international acceptance and has served as the foundation for many color order systems.
First published in 1952, Thinking in Opposites insists on the need for a carefully thought-out, rather than a merely authoritarian, basis for faith; but also insists that an indispensable preliminary is to know the laws which govern and limit the scope of human thinking in relation to three areas: the external world as it is; the internal world of feeling; and the interrelation of each of these with the other. This book is not a technical work in philosophy and the theory of knowledge; but it deals with problems in those fields which have usually been handled only in technical language. Therefore, this is a book both for the expert and for the intelligent and thoughtful layman: for the man who has a sense of responsibility for what he believes, and who is able to justify his faith amid the chaos of our times.
Introduction to Art: Design, Context, and Meaning offers a deep insight and comprehension of the world of Art. Contents: What is Art? The Structure of Art Significance of Materials Used in Art Describing Art - Formal Analysis, Types, and Styles of Art Meaning in Art - Socio-Cultural Contexts, Symbolism, and Iconography Connecting Art to Our Lives Form in Architecture Art and Identity Art and Power Art and Ritual Life - Symbolism of Space and Ritual Objects, Mortality, and Immortality Art and Ethics
Mark Eli Kalderon presents an original study in the philosophy of perception written in the medium of historiography. He considers the phenomenology and metaphysics of sensory presentation through the examination of an ancient aporia. Specifically, he argues that a puzzle about perception at a distance is behind Empedocles' theory of vision. Empedocles conceives of perception as a mode of material assimilation, but this raises a puzzle about color vision, since color vision seems to present colors that inhere in distant objects. But if the colors inhere in distant objects how can they be taken in by the organ of sight and so be palpable to sense? Aristotle purports to resolve this puzzle in his definition of perception as the assimilation of sensible form without the matter of the perceived particular. Aristotle explicitly criticizes Empedocles, though he is keen to retain the idea that perception is a mode of assimilation, if not a material mode. Aristotle's notorious definition has long puzzled commentators. Kalderon shows how, read in light of Empedoclean puzzlement about the sensory presentation of remote objects, Aristotle's definition of perception can be better understood. Moreover, when so read, the resulting conception of perception is both attractive and defensible.
Steinhardt presents sandplay therapy in an art therapy setting. She begins by outlining the principles and practicalities of sandplay therapy and explaining the importance of the specifically blue tray and other materials used. She provides a history of art therapy and sandplay therapy, and the previous literature and thinking in these fields.