Scribd 271 Years Before Pantone, an Artist Mixed and Described Every Color Imaginable in an 800-Page Book In 1692 an artist known only as “A. Boogert” sat down to write a book in Dutch about mixing watercolors. Not only would he begin the book with a bit about the use of color in painting, but would go on to explain how to create certain hues and change the tone by adding one, two, or three parts of water. The premise sounds simple enough, but the final product is almost unfathomable in its detail and scope. Spanning nearly 800 completely handwritten (and painted) pages, Traité des couleurs servant à la peinture à l’eau, was probably the most comprehensive guide to paint and color of its time. It’s hard not to compare the hundreds of pages of color to its contemporary equivalent, the Pantone Color Guide, which wouldn’t be published for the first time until 1963. The entire book is viewable in high resolution here, and you can read a description of it here (it appears E-Corpus might have crashed for the moment).
KMODDL - Kinematic Models for Design Digital Library The 220 models in Cornell University’s Reuleaux Collection were built in the late 19th century to demonstrate the elements of machine motion, as theorized by the German engineer Franz Reuleaux. The University acquired the models in 1882 for use in teaching and research. <more about the Reuleaux Collection> The Reuleaux models are classified according to the alphanumeric schema employed in the catalog of the manufacturer, Gustav Voigt. Click a class folder for a list of the models in the class and to browse thumbnail images. The Paradox of Art as Work Photo There are few modern relationships as fraught as the one between art and money. Are they mortal enemies, secret lovers or perfect soul mates? Is the bond between them a source of pride or shame, a marriage of convenience or something tawdrier? The way we habitually think and talk about these matters betrays a deep and venerable ambivalence. On the other hand, money is now an important measure — maybe the supreme measure — of artistic accomplishment. Everyone might be sure that sales are not the only criterion of success, but no one is quite certain what the others might be, or how, in our data-obsessed era, they might be measured. In the popular imagination, artists tend to exist either at the pinnacle of fame and luxury or in the depths of penury and obscurity — rarely in the middle, where most of the rest of us toil and dream. But it is, nonetheless, a job. The question of who profits and who gets paid has become a contentious one. Everything I’ve ever done Gonna give it away
Heureka! Blog - Wissenschaft und Technik “begreifen” » Exponate Der kalifornische Künstler Reuben Margolin hat mit dem Swiss Science Center eines der komplexesten kinetischen Kunstwerke der Welt geschaffen. 50′000 Einzelteile der faszinierenden Mechanik erwecken die “Magic Wave” zu Leben. Reuben Margolin, spezialisiert auf mechanische Wellenskulpturen, hat mit der “Magic Wave” sein bisher grösstes und komplexestes Werk realisiert. Durch einen genialen Antriebsmechanismus wird ein im Raum schwebendes Netz aus 450 Aluminiumrohren in einen bewegten Wellenteppich verwandelt. Die 256 Knotenpunkte des Netzes sind an fast unsichtbaren Drähten aufgehängt, die von der Mechanik des Antriebs auf und ab bewegt werden. Als Exponat im Science Center spricht dieses Kunstwerk nicht nur die Sinne an, sondern erlaubt auch Einsichten in die Natur von Wellen. Die fast geräuschlose Bewegung der Aluminiumrohre fasziniert mit ihrer verblüffend natürlich wirkenden Wellensimulation. Ein kinetisches Kunstwerk der Superlative - die Magic Wave in Zahlen:
10 Shocking Photos That Will Change How You See Consumption And Waste As individual and anonymous consumers, it's seemingly impossible to even estimate the physical ramifications of our daily consumption and waste. While our personal imprints may not seem in themselves worthy of alarm, the combined effect of human's habits and rituals is hard to look away from. Cell phones #2, Atlanta 2005 Photographer Chris Jordan works with the debris we as a society leave behind, photographing massive dumps of cell phones, crushed cars and circuit boards. Squished together in dizzying quantities, the discarded goods resemble hypnotic puzzles, abstracted color fields and hallucinatory fractals. The series, dubbed "Intolerable Beauty: Portraits of American Mass Consumption," shows the unmistakable imprint of our American culture in all its horror and strange, dark appeal. Crushed Cars, Tacoma 2004 Faced with Jordan's unshakeable images, we lose our ability to shrug off the consequences of our consumption, a small but necessary first step on the way to lasting change.
The Endless Possibilities of Paper Paper is one of the world’s definitive materials. Books, letters, paintings, magazines – everything really good starts with paper. Yet in an increasingly digitised world, where email is king and video rules the Turner Prize, is it a material that is becoming obsolete? Here we present a selection of beautiful works from Paper Play, alongside an interview with the paper artist Alice von Maltzahn, whose gorgeously intricate pieces feature in the book. What started you working with paper? How does the creative process come about for you? Your work is extraordinary because the pieces are at once creations and destructions, a piece of paper being carved up to become something else - is there a sense of destruction that informs their creation? How is it working with such delicacy and precision? What do you feel about working in paper in contrast to other mediums?
Portraits in Creativity