我们集团组织了 3000 多个全球系列会议 每年在美国、欧洲和美国举办的活动亚洲得到 1000 多个科学协会的支持 并出版了 700+ 开放获取期刊包含超过50000名知名人士、知名科学家担任编委会成员。

开放获取期刊获得更多读者和引用
700 种期刊 15,000,000 名读者 每份期刊 获得 25,000 多名读者

索引于
  • 哥白尼索引
  • 谷歌学术
  • 夏尔巴·罗密欧
  • 打开 J 门
  • Genamics 期刊搜索
  • 学术钥匙
  • 电子期刊图书馆
  • 参考搜索
  • 哈姆达大学
  • 亚利桑那州EBSCO
  • OCLC-世界猫
  • SWB 在线目录
  • 虚拟生物学图书馆 (vifabio)
  • 普布隆斯
  • 欧洲酒吧
分享此页面

抽象的

An Understanding of Graphical Perception

Tulsi N Patel

Graphics was a two dimensional notion till the nineteenth century. It was only in the twentieth century, during the modern movement, that graphics emerged as a three dimensional tool. During the same time architecture also had a change in its definition and there was a breakthrough in the design industry. Colour which was earlier used as a superficial element for decoration now started being used as a design element of third dimension in architecture.

Designing with colour therefore it must be considered in all its aspects of which are related to one another, so that virtually in any work in which colour plays a role all must be taken into accent. Colours have a profound effect on mind and emotion and influence our mood and feelings. Colour can reinforce ideas of form and material; express its divisions and proportions.

Colour can underline an architectural statement, it can punctuate, direct and focus attention and compensate in a way unlike any other abstract element”. How graphical use of colour can create a statement in architecture.