This essential guide can help readers identify blood type cells, which are difficult to categorize, and explains the morphologic characteristics of peripheral blood cells in detail. Some of the book's features include: color photographs that depict each stage of cell maturation in the exact sequence of development; comparative photographs of difficult-to-identify cells from different cell lines with adjacent diagrams and instructions in chart form; and an explanation of the entire differential procedure, with mathematical guidelines.
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.
The eye, the camera's lens, and the computer screen all treat color differently. This important addition to the designer's reference library helps resolve the differences among the numerous media that contemporary designers work with every day. Comprehensive in scope, it brings together key elements of color theory, practice, and application, addressing a wide range of issues specific to graphic design in both print and digital media. Beyond step-by-step techniques for managing color in modern graphic design practice, Designer's Color Manual also addresses topics which help designers understand color in a variety of disciplines, looking at historical color systems, color in art, and the psychology of color, among dozens of other topics. Author and designer Tom Fraser also takes other graphics-related practices into account -- interior design, digital rendering, packaging and merchandise design -- aiding the designer in mastering the far-reaching effects of color in almost any project. Heavily illustrated with over 1,000 color images, Designer's Color Manual addresses an area that's been gray for too long in the full-color world of contemporary design.
Color was used in film well before The Wizard of Oz. Thomas Edison, for example, projected two-colored films at his first public screening in New York City on April 23, 1896. These first colors of early cinema were not photographic; they were applied manually through a variety of laborious processes—most commonly by the hand-coloring and stenciling of prints frame by frame, and the tinting and toning of films in vats of chemical dyes. The results were remarkably beautiful. Moving Color is the first book-length study of the beginnings of color cinema. Looking backward, Joshua Yumibe traces the legacy of color history from the beginning of the nineteenth century to the cinema of the early twentieth century. Looking forward, he explores the implications of this genealogy on experimental and contemporary digital cinemas in which many colors have become, once again, vividly unhinged from photographic reality. Throughout this history, Moving Color revolves around questions pertaining to the sensuousness of color: how color moves us in the cinema—visually, emotionally, and physically.
The kaleidoscope, the stereoscope, and other nineteenth-century optical toys analyzed as “new media” of their era, provoking anxieties similar to our own about children and screens. In the nineteenth century, the kaleidoscope, the thaumatrope, the zoetrope, the stereoscope, and other optical toys were standard accessories of a middle-class childhood, used both at home and at school. In Playful Visions, Meredith Bak argues that the optical toys of the nineteenth century were the “new media” of their era, teaching children to be discerning consumers of media—and also provoking anxieties similar to contemporary worries about children's screen time. Bak shows that optical toys—which produced visual effects ranging from a moving image to the illusion of depth—established and reinforced a new understanding of vision as an interpretive process. At the same time, the expansion of the middle class as well as education and labor reforms contributed to a new notion of childhood as a time of innocence and play. Modern media culture and the emergence of modern Western childhood are thus deeply interconnected. Drawing on extensive archival research, Bak discusses, among other things, the circulation of optical toys, and the wide visibility gained by their appearance as printed templates and textual descriptions in periodicals; expanding conceptions of literacy, which came to include visual acuity; and how optical play allowed children to exercise a sense of visual mastery. She examines optical toys alongside related visual technologies including chromolithography—which inspired both chromatic delight and chromophobia. Finally, considering the contemporary use of optical toys in advertising, education, and art, Bak analyzes the endurance of nineteenth-century visual paradigms.
Given its importance in analysing and influencing the world around us, an understanding of colour is a vital tool in any design process. Colour design provides a comprehensive review of the issues surrounding the use of colour, from the fundamental principles of what colour is to its important applications across a vast range of industries.Part one covers the main principles and theories of colour, focusing on the human visual system and the psychology of colour perception. Part two goes on to review colour measurement and description, including consideration of international standards, approval methods for textiles and lithographic printing, and colour communication issues. Forecasting colour trends and methods for design enhancement are then discussed in part three along with the history of colour theory, dyes and pigments, and an overview of dye and print techniques. Finally, part four considers the use of colour across a range of specific applications, from fashion, art and interiors, to food and website design.With its distinguished editor and international team of contributors, Colour design is an invaluable reference tool for all those researching or working with colour and design in any capacity. - Provides a comprehensive review of the issues surrounding the use of colour in textiles - Discusses the application of colour across a vast range of industries - Chapters cover the theories, measurement and description of colour, forecasting colour trends and methods for design enhancement
The first major literary and cultural history of color in America, 1880–1930 Chromographia tells the story of how color became modern and how literature, by engaging with modern color, became modernist. From the vivid pictures in children’s books to the bold hues of abstract painting, from psychological theories of perception to the synthetic dyes that brightened commercial goods, color concerned both the material stuff of modernity and its theoretical and artistic formulations. Chromographia spans these diverse practices to reveal the widespread effects on U.S. literature and culture of the chromatic revolution that unfolded at the turn of the twentieth century. In analyzing color experience through the lens of U.S. writers (including Charlotte Perkins Gilman, L. Frank Baum, Stephen Crane, Charles Chesnutt, Gertrude Stein, Nella Larsen, and William Carlos Williams), Chromographia argues that modern aesthetic techniques are inseparable from the theories and technologies that drove modern color. Nicholas Gaskill shows how literature registered the social worlds within which chromatic technologies emerged, and also experimented with the ideas about perception, language, and the sensory environment that accompanied their proliferation. Chromographia is the only study of modern color in U.S. literature. It presents a new reading of perception in literature and a theory of experience that uses color to move beyond the usual divisions of modern thought.
Giving an overview of the history of color theory from ancient and classical cultures to contemporary contexts, this book explores important critical principles and provides practical guidance on the use of color in art and design. Going beyond a simple recitation of what has historically been said about color, artist and educator Aaron Fine provides an intellectual history, critiquing prevailing Western ideas on the subject and challenging assumptions. He analyses colonialist and gendered attitudes, materialist and romanticist perspectives, spiritualist approaches to color, color in the age of reproduction, and modernist and post-modernist color strategies. Highlighted throughout are examples of the ways in which attitudes towards color have been impacted by the legacy of colonialism and are tied up with race, gender, and class. Topics covered include color models, wheels and charts, color interaction and theories of perception, with over 150 images throughout. By placing under-examined tenets of color theory such as the color wheel and color primaries within the Western industrial context that generated them, Fine helps you to connect color choices to color meanings and apply theory to practice.
