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Ettore Sottsass, enamelled copper tondo, 1958, photo: enzo asaia all images courtesy kunsthal museum via designboom
andrewromano:

“Color mixture and illusion of transparence,” James McNair; Plate IX-I, Interaction of Color (1963). Next EP cover, perhaps? 
The Creation of Color in Eighteenth-Century Europe by Sarah Lowengard: Jean Hellot, Report on Roederer’s saxon green, 1 January 1750.
biff:

The Creation of Color in Eighteenth-Century Europe by Sarah Lowegard
Prussian blue pigment in six different media

Top row, left to right: oil paint (linseed oil), oil / resin paint (linseed oil, mastic, and dammar), oil / wax paint (linseed oil and beeswax). Bottom row, left to right: gouache (gum arabic), egg-based tempera, saponified wax paint (beeswax).
Source: From Annik Pietsch’s dissertation, Die Maltechnik des Staffeleibildes im 19. Jahrhundert, (Kunsthistorisches Institut der Freien Universität bei Univ. Prof. Dr. Werner Busch, 2004).

Credit: Courtesy Annik Pietsch. 
biff:

The Creation of Color in Eighteenth-Century Europe by Sarah Lowengard

Source: From Ignaz Schiffermüller, Versuch eines Farbensystems (Vienna, 1772), plate II.
Credit: Photograph © 2002 Board of Trustees, National Gallery of Art, Washington, D.C.
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