"Choosing Color for Logos and Packaging" is not only a wonderful resource for ideas and inspiration, but also a handy manual that shows designers how to best communicate with color. Color is a powerful and extremely important decision in any design because it impacts legibility, promotes an emotional response, and greatly influences the overall aesthetic of a piece. Because of this, color plays a major role in determining the success of a design, so getting it right is imperative. Each design featured includes details on its color scheme and associative color response, along with elements such as typography, overall style, and key features that set the piece apart. The result is an invaluable guide, which offers readers a comprehensive overview in a concise, quick-hit format that can be digested quickly.

The Handbook of International Futurism is the first reference work ever to presents in a comparative fashion all media and countries in which the movement, initiated by F.T. Marinetti in 1909, exercised a particularly noteworthy influence. The handbook offers a synthesis of the state of scholarship regarding the international radiation of Futurism and its influence in some fifteen artistic disciplines and thirty-eight countries. While acknowledging the great achievements of the movement in the visual and literary arts of Italy and Russia, it treats Futurism as an international, multidisciplinary phenomenon that left a lasting mark on the manifold artistic manifestations of the early twentieth-century avant-garde. Hundreds of artists, who in some phase in their career absorbed Futurist ideas and stylistic devices, are presented in the context of their national traditions, their international connections and the media in which they were predominantly active. The handbook acts as a kind of multi-disciplinary, geographical encyclopaedia of Futurism and gives scholars with varying levels of experience a detailed overview of all countries and disciplines in which the movement had a major impact.

In 1909 the poet Filippo Tommaso Marinetti published the founding manifesto of Italian Futurism, an inflammatory celebration of "the love of danger" and "the beauty of speed" that provoked readers to take aggressive action and "glorify war--the world's only hygiene." Marinetti's words unleashed an influential artistic and political movement that has since been neglected owing to its exaltation of violence and nationalism, its overt manipulation of mass media channels, and its associations with Fascism. Inventing Futurism is a major reassessment of Futurism that reintegrates it into the history of twentieth-century avant-garde artistic movements. Countering the standard view of Futurism as naïvely bellicose, Christine Poggi argues that Futurist artists and writers were far more ambivalent in their responses to the shocks of industrial modernity than Marinetti's incendiary pronouncements would suggest. She closely examines Futurist literature, art, and politics within the broader context of Italian social history, revealing a surprisingly powerful undercurrent of anxiety among the Futurists--toward the accelerated rhythms of urban life, the rising influence of the masses, changing gender roles, and the destructiveness of war. Poggi traces the movement from its explosive beginnings through its transformations under Fascism to offer completely new insights into familiar Futurist themes, such as the thrill and trauma of velocity, the psychology of urban crowds, and the fantasy of flesh fused with metal, among others. Lavishly illustrated and unparalleled in scope, Inventing Futurism demonstrates that beneath Futurism's belligerent avant-garde posturing lay complex and contradictory attitudes toward an always-deferred utopian future.

Color speaks a powerful cultural language, conveying political, sexual, and economic messages that, throughout history, have revealed how we relate to ourselves and our world. This ground-breaking compilation is the first to investigate how color in fashionable and ceremonial dress has played a significant social role, indicating acceptance and exclusion, convention and subversion. From the use of white in pioneering feminism to the penchant for black in post-war France, and from mystical scarlet broadcloth to the horrors of arsenic-laden green fashion, this publication demonstrates that color in dress is as mutable, nuanced, and varied as color itself. Divided into four thematic parts – solidarity, power, innovation, and desire – each section highlights the often violent, emotional histories of color in dress across geographical, temporal and cultural boundaries. Underlying today's relaxed attitude to color lies a chromatic complexity that speaks of wars, migrations and economics. While acknowledging the importance that technology has played in the development of new dyes, the chapters explore color as a catalyst for technical innovation that continues to inspire designers, artists, and performers. Bringing together cutting-edge contributions from leading scholars, it is essential reading for academics of fashion, textiles, design, cultural studies and art history.

The periodical's purpose was to report on contemporary developments in painting from the British Isles and elsewhere ; more importantly, each issue contained high quality colour reproductions of examples of various artists' work.