Nature Color Illustrations Vol 2

The goal of communication-oriented design of messages should always be clarity of communication. In information design the task of the sender is actually not completed until the receivers have received and understood the intended messages. Information Design – An introduction includes chapters explaining verbo-visual communication, information and message design principles, design processes, and design tools. These chapters can be seen as a general framework for production of information and learning materials. Based on theories for verbo-visual communication this book presents several practial guidelines for the use of text, symbols, visuals, typography, and layout in information and learning materials. Rune Pettersson is Professor of Information Design at the Department of Innovation, Design and Product Development (IDP) at Mälardalen University in Eskilstuna, Sweden.

A gorgeous expanded edition of Werner's Nomenclature of Colours, a landmark reference book on color and its origins in nature First published in 1814, Werner's Nomenclature of Colours is a taxonomically organized guide to color in the natural world. Compiled by German geologist Abraham Gottlob Werner, the book was expanded and enhanced in 1821 by Patrick Syme, who added color swatches and further color descriptions, bringing the total number of classified hues to 110. The resulting resource has been invaluable not only to artists and designers but also to zoologists, botanists, mineralogists, anatomists, and explorers, including Charles Darwin on the famous voyage of the Beagle. Nature's Palette makes this remarkable volume available to today's readers, and is now fully enhanced with new illustrations of all the animals, plants, and minerals Werner referenced alongside each color swatch. Readers can see "tile red" in a piece of porcelain jasper, the breast of a cock bullfinch, or a Shrubby Pimpernel. They can admire "Berlin blue" on a piece of sapphire, the Hepatica flower, or the wing feathers of a jay. Interspersed throughout the book are lavish feature pages displaying cases of taxidermy, eggs, shells, feathers, minerals, and butterflies, with individual specimens cross-referenced to the core catalog. Featuring contributions by leading natural history experts along with more than 1,000 color illustrations and eight gatefolds, Nature's Palette is the ideal illustrated reference volume for visual artists, naturalists, and anyone who is captivated by color.

An Author's Summary, 1888 Four Essays Written between 1890 and 1898 Eight Lectures between 1909 and 1921 (CW 271) "The challenge of saying something about art was personal for Rudolf Steiner. He experienced it as deeply connected with his biography. It is not for nothing that, in the last lecture of this volume, he points to his repeated attempts to develop a new approach and new forms of expression for speaking about art. We find at least three forms of this attempted approach in this book." --Zvi Szir (from the introduction) The subject, practice, and vital importance of art was a thread that ran through Rudolf Steiner's life, from his early work as a scholar of Goethe, through his time as an editor of a literary and arts journal in Berlin in the 1890s, and to his two and a half decades as a spiritual researcher and teacher. Understanding and articulating the significance of art was a perennial challenge for Rudolf Steiner. This volume of Steiner's Collected Works is unique in that it showcases a survey of both early written works and later lectures to anthroposophic audiences, and in doing so presents a picture of a lifetime of intensive effort to convey something essential about the arts. Beginning with his early philosophical work and literary criticism at the end of the nineteenth century and on into his later lectures, this volume follows Steiner's endeavor to reveal in words the mystery obscured by the vague concept of what "art" is. Viewed as a whole, this volume forms one of the most provocative collections of the twentieth century on the subject of art. It offers a unique analysis of the origin, foundation, and method of the creative process. This book is a translation of Kunst und Kunsterkenntnis: Grundlagen einer neuen Ästhetik, 3rd edition, published by Rudolf Steiner Verlag, Dornach, Switzerland, 2010 (GA 271).

Colour, Art and Empire explores the entanglements of visual culture, enchanted technologies, waste, revolution, resistance and otherness. The materiality of colour offers a critical and timely force-field for approaching afresh debates on colonialism. This book analyses the formation of colour and politics as qualitative overspill. Colour can be viewed both as central and supplemental to early photography, the totem, alchemy, tantra and mysticism. From the eighteenth-century Austrian Empress Maria Theresa to Rabindranath Tagore and Gandhi, to 1970s Bollywood, colour makes us adjust our take on the politics of the human sensorium as defamiliarising and disorienting. The four chapters conjecture how European, Indian and Papua New Guinean artists, writers, scientists, activists, anthropologists or their subjects sought to negotiate the highly problematic stasis of colour in the repainting of modernity. Specifically, the thesis of this book traces Europeans' admiration and emulation of what they termed 'Indian colour' to its gradual denigration and the emergence of a 'space of exception'. This space of exception pitted industrial colours against the colonial desire for a massive workforce whose slave-like exploitation ignited riots against the production of pigments - most notably indigo. Feared or derided, the figure of the vernacular dyer constituted a force capable of dismantling the imperial machinations of colour. Colour thus wreaks havoc with Western expectations of biological determinism, objectivity and eugenics. Beyond the cracks of such discursive practice, colour becomes a sentient and nomadic retort to be pitted against a perceived colonial hegemony. The ideological reinvention of colour as a resource for independence struggles make it fundamental to multivalent genealogies of artistic and political action and their relevance to the present.

5 public lectures and an evening discussion, various cities, June 17, 1920 - May 11, 1922 (CW 75) This previously untranslated volume in The Collected Works of Rudolf Steiner showcases Rudolf Steiner presenting the key concepts and methods of spiritual science to more or less skeptical academic audiences in the early 1920s. Step by step, he presented to his listeners the fundamentals of the anthroposophic path of knowledge. Steiner was less concerned with presenting results from his spiritual-scientific research than with leading his academic audience to an objective understanding of spiritual science in a propaedeutic, conceptually transparent way. The central questions of his approach were: What are the tools and instruments required to orient oneself in the world of the soul and the spirit? How can we know that the spiritual world is an objective world and not merely a psychic projection? What authorizes the spiritual researcher to acknowledge what he has experienced "on the other side" as a reality that is independent of him? Rudolf Steiner addresses these and other questions in such a structured and readily comprehensible way that the volume as a whole is well suited, both as an introductory text and as a means for anyone to deepen their understanding of how anthroposophy relates to and builds upon the natural sciences. At the time these presentations were given, serious voices had been raised denying Steiner's scientific credibility and denouncing his methods as unsound. Partly in response to such criticisms, Steiner here describes a means by which human beings can gain, through methodical and rigorous training, a direct experience of the spiritual dimension of life. He lays out the methodology of spiritual science, which is rooted in the scientific approach, outlining the three stages of higher knowledge --imagination, inspiration, and intuition --and describing the inner processes that lead from intellectual thinking to these higher modes of cognition. Ultimately, what Steiner proposes is not a deviation from the natural sciences but their expansion and development beyond unnecessary boundaries --that is, the establishment of anthroposophical spiritual science as a recognized method and practice of scientific research. This book is a translation from German of Das Verhältnis der Anthroposophie zur Naturwissenschaft, 1st edition (GA 75, Rudolf Steiner Verlag, Dornach, Switzerland, 2010).

If it's relaxation you seek, then here is your answer! Coloring gives you the time to sit back and not think about anything that's stressing you out. Instead, you can just focus on picking a color and filling the lines. Since it's abstract, you can choose, use and mix any color that you like! There's no limit to what you can do!