Semiotics of Visual LanguageIndiana University Press, 1987 - 255 من الصفحات " . . . the details of Saint-Martin's argument contain a wealth of penetrating observations from which anyone with a serious interest in visual communication will profit." —Journal of Communication |
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النتائج 1-3 من 17
الصفحة 20
... primary colors were designated by Aristotle as the manifestly complex and unstable colors of natural ele- ments , that is , of fire , of air , of water and of earth . And circa 1666 , Newton defined primary colors in relation to the ...
... primary colors were designated by Aristotle as the manifestly complex and unstable colors of natural ele- ments , that is , of fire , of air , of water and of earth . And circa 1666 , Newton defined primary colors in relation to the ...
الصفحة 27
... primary . In other areas , like painting and sculpture , the question is still more complex as it is related to the so - called ' reflected ' color , allowing a nonluminous matter to be perceived as colored . 2.1.4.2 . REFLECTED COLORS The ...
... primary . In other areas , like painting and sculpture , the question is still more complex as it is related to the so - called ' reflected ' color , allowing a nonluminous matter to be perceived as colored . 2.1.4.2 . REFLECTED COLORS The ...
الصفحة 28
... primary colors , since this sequence of production is highly theoreti- cal . As noted earlier , one cannot encounter these primary colors in the natural environment ( as reflected by objects or by material constituents of visual ...
... primary colors , since this sequence of production is highly theoreti- cal . As noted earlier , one cannot encounter these primary colors in the natural environment ( as reflected by objects or by material constituents of visual ...
المحتوى
Two The Visual Variables | 16 |
Three Syntax of Visual Language | 65 |
Four The Pictorial Basic Plane | 76 |
حقوق النشر | |
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طبعات أخرى - عرض جميع المقتطفات
عبارات ومصطلحات مألوفة
according angles artist Basic Plane Carl Andre centrations characteristics coloremes compartments complementary colors constitute constructed context contour contrasts curve defined described developed diagonal dimension distance dynamic effect energetic energies ensemble established Euclidean geometry experience external volume figure foveal function fundamental geometry gestaltian global grid horizontal hypothesis infrastructure interaction internal interrelations Kandinsky light linear linguistic linked luminosity luminous rays mass material modes modified natural notion object oblique observed offered optical organization painting particular perceived perceptual process peripheral vision phenomenon pictorial plane plastic points of view position potential primary colors produced proxemic reality recognized regions regroupings relation result sculpture semantic sensorial simultaneous contrasts space spatial specific surface syntactic analysis syntactic structure tactile tensions texture theory tion tonal topological transformations various vectorialities verbal language vertical Virtual Cube visual field visual language visual movements visual perception visual representation visual semiotics visual text visual variables yellow zones