viernes, 18 de agosto de 2017

miércoles, 9 de agosto de 2017

Making and Breaking the Grid (2ª edition) by Timothy Samara


“Time and time again Tim Samara’s books have always exceeded my expectations. His updated version of "Making and Breaking the Grid" is no exception! It will be a welcome addition to my reference library, as well as a ‘must read’ for all my design students”. —Richard Poulin/Poulin + Morris Inc. & School of Visual Arts
“Clearly explains different ways of organizing information… The best that I have seen in a long time—bravo!”—Massimo Vignelli/Vignelli Associates
“I appreciate the thoughtful way each piece is displayed with a reference to the grid used or not. The book is an excellent way to explain to designers and non-designers the impact of the grid in visual composition.” —Daniel Boyarski/Carnegie Mellon University
“A fine piece of work. I think it is a well-designed and very thoughtful volume, particularly useful to students… A book with integrity.” —Simon Johnston/Founding partner, 8vo
“A brilliant book in which Samara, with an extraordinary look full of wisdom, analyzes and exemplifies the historical and conceptual strength of the grid. “Making and Breaking the Grid” has been an essential reference book in our professional work and, a conceptual and visual resource, for years for all our students of design and visual communication.” —Sonia Díaz & Gabriel Martínez/Lsdspace & Escuela Superior de Diseño de Madrid

miércoles, 2 de agosto de 2017

Rethinking Design Education...


[...] if we don’t want design to become or remain “a branch of product development, marketing communication, and
technological fetishism,” if it is not to remain a reactive attitude, it will have to become proactive; in other words it will have to propose “new scenarios for the future” (Manzini). [...] I reply that the profile of design professions need not—and should not—remain what it is today, otherwise these professions might disappear. It is, therefore, our responsibility to imagine the future profile of our professions...

Alain Findeli (Rethinking Design Education for the 21st Century:
Theoretical, Methodological, and Ethical Discussion)

miércoles, 19 de julio de 2017

domingo, 16 de julio de 2017

The aesthetics of imagination in design #4





CONDENSED GRAPHIC MEANING
The pictograms are not simply symbols that stand for something; they are also symbolic in the sense that they transform meaning and in their final and fixed graphic expression condense and organize this meaning. —Mads Nygaard Folkmann (2013). The aesthetics of imagination in design. MIT Pess.

The aesthetics of imagination in design #3


And as a stage for our meeting with the world (see Seel's concept), the pictogram is not only a more or less casual singular object struggling to be heard through the overload of information in contemporary society, it is also a device for proposing a model (in Aicher's sense) of the world or a process of cultural framing entailing a worldview that reaches into the symbolic sphere of possibilities. —Mads Nygaard Folkmann (2013). The aesthetics of imagination in design. MIT Pess.

The aesthetics of imagination in design #2


Through its reduced form, which is open to cultural highly reduced graphic performance, the pictogram epistemologically sets the stage for a way of approaching and experiencing the specific domain of culture that is at stake. In this process, the idea of soccer is symbolized in the pictogram (to follow Goethe's reflection), and so not only the symbolically laden notion of soccer is ontologically altered. The medium of this operation, the actual pictogram, draws attention to itself as the locus of this operation. —Mads Nygaard Folkmann (2013). The aesthetics of imagination in design. MIT Pess.

The aesthetics of imagination in design


The pictograms create a symbolic model of the world. They have transformed our understanding through graphic elements just as they organize meaning in a new way. They frame human cognition and point to an openness in interpretation. The generic challenge for designers is to look critically at their own work to see how it might perform the same task and point to a wider context of cultural possibility that may be contained and expressed in the design. —Mads Nygaard Folkmann (2013). The aesthetics of imagination in design. MIT Pess.

viernes, 14 de julio de 2017

New symbol against bullying #14

Symbols against bullying #13

Symbols against bullying #12

Symbols against bullying #11

Symbols against bullying #10

Symbols against bullying #9

Symbols against bullying #8

Symbols against bullying #7

Symbols against bullying #6

Symbols against bullying #5

Symbols against bullying #4

Symbols against bullying #3

Symbols against bullying #2

Symbols against bullying #1

M21 Radio vs Un mundo feliz

domingo, 9 de julio de 2017

Madridgráfica17

Madridgráfica17



Madrid Gráfica 2017
Convocatoria de Carteles
“La Ciudad Ligera”


Lema y contenido
El contenido de esta primera convocatoria versará sobre La Ciudad Ligera. Este será el contenido del cartel y el Lema que deberá figurar en el idioma elegido por el autor en todos los carteles.
El objetivo de este Certamen es doble:
– Por un lado mostrar la capacidad de la gráfica y de sus profesionales para abordar temas que preocupan a la sociedad y para hacerlo de forma atractiva.
– El segundo objetivo es visualizar el Lema y el contenido de la convocatoria, en este caso La Ciudad ligera, y lograr que los carteles transmitan los conceptos de una mejor movilidad urbana expresados de forma abierta e interpretados libremente por el autor, autora o autores del cartel, siguiendo la definición que figura en el texto de esta convocatoria.
Todos los carteles serán expuestos en la Central de Diseño de Matadero Madrid.
El jurado internacional seleccionará los 100 mejores carteles presentados para que además se expongan en las calles de Madrid.
Asimismo, el Jurado elegirá el cartel, que a su juicio mejor exponga el objetivo de la Muestra La Ciudad Ligera 2017. Y, figurará señalado como ganador en la muestra y en la comunicación posterior del evento.

Jurado 2017
Para garantizar el nivel de la muestra y de la selección de los mejores carteles, se ha convocado a 5 diseñadores gráficos de primer nivel internacional. Además, se ha incluido como miembro del jurado al diseñador industrial milanés, experto en Biónica, Carmelo di Bartolo por su condición de ser uno de los creadores del término Ciudad Ligera.
Alejandro Magallanes. México
Ivan Chermayeff. USA
Mirko Ilic. Bosnia. USA
Alain Le Quernec. Francia
Pekka Loiri. Finlandia
Carmelo di Bartolo. Italia
Estos 100 carteles se expondrán en los elementos de mobiliario público de la ciudad de Madrid. La totalidad de los carteles, serán expuestos en la Central de Diseño de Madrid.
Más info:

viernes, 7 de julio de 2017

viernes, 30 de junio de 2017

lunes, 26 de junio de 2017

miércoles, 21 de junio de 2017

viernes, 5 de mayo de 2017

The design of dissent (tour 2017)


THE DESIGN OF DISSENT

Established in 2005, it features pieces from the Design of Dissent book. The show has opened in Seattle, Washington and will be traveling to Holland in the fall.

Non-Breaking Space
February 2nd—June 16th. 2017

Originally curated by Milton Glaser and Mirko Ilic, The Design of Dissent was displayed in 2005 at The School of Visual Arts – NY. A portion of this exhibition is on loan from the School of Visual Arts – NY. The new iteration, curated in collaboration with Civilization, is a direct reaction to the state of current affairs. It is our responsibility to question, challenge, and communicate dissent wherever necessary to protect those freedoms we so value.

Featured Designers

Ahmet Ogut
Alex Briseno
April Greiman
Archie Boston
Barbara Kruger
Bulent Erkmen
Civilization
Copper Greene
Courtney Gooch
Dan Reisinger
Daniel Jasper
David Tartakover
Dejan Krsic
Emory Douglas
Ewa Wlostowska
Experimental Jetset
Fang Chen
Gran Fury
Guerrilla Girls
Hernan Ibanez
Hjalti Karlsson
James Victore
Jason Sturgill
Jennifer Tolo
Jessica Walsh
John Yates
Joshua Berger
Joshua Chen
Ken Garland
Kyle Goen
Mauro Bubbico
Max Spector
Milton Glaser
Mirko Ilic
Monica Schlang
Nancy Hoefig
Niko Courtelis
Patrick Thomas
Paula Scher
Pentagram
Plazm
Primo Angeli
Sener Ozmen
Seymour Chwast
Silence = Death
Sonja & Gabriel Freeman (Un mundo feliz)
Stefan Sagmeister
Sue Coe
Tibor Kalman
Tom Geismar
Trio Sarajevo
Trudy Cole-Zielanski
Valerie Thai
Woody Pirtle

http://non-breaking.space/

Non-Breaking Space is a non-profit gallery
by Civilization devoted to showcasing important
works of graphic design.
532 1st Avenue S.
Seattle, WA 98104

http://non-breaking.space/catalog.pdf

http://www.seattletimes.com/…/review-design-of-dissent-exh…/

martes, 25 de abril de 2017

viernes, 7 de abril de 2017

Mujer-desigualdad (el taller) #2


En las calles de Montevideo...

Mujer-desigualdad (el taller)


Muy pronto... más imágenes alucinantes de nuestro taller en Montevideo. Una experiencia muy positiva con un grupo que lo ha dado todo. Gracias a todxs!

martes, 28 de marzo de 2017

Las novias revolucionarias de Leonilda González


«Novias revolucionarias XI»
Leonilda González, 1923-2017

Leonilda González ha tenido un papel protagónico en la acción docente, tanto en el Club de Grabado como a través de los viajes que realizó impulsando la creación de centros de formación de grabado en Latinoamérica. Según el crítico Gabriel Peluffo «algunos intelectuales de la izquierda uruguaya profundizan la vertiente realista buscando ampliar su plataforma social. La fundación del Club de Grabado en 1953 es un ejemplo de ello».

En el Uruguay de los años cincuenta el panorama artístico nacional daba paso a multiplicidad de caminos expresivos: junto al geometrismo abstracto y a las experiencias matéricas de finales de la década, se debe incluir el grabado en la plástica nacional.

La serie «Novias revolucionarias», que Leonilda González inicia en 1968 como un manifiesto de protesta irónica contra el matrimonio concebido como una pérdida de libertad, se convertiría en la época de dictadura en símbolo de protesta. Las mujeres solas y la estética del grabado tan asociada a períodos determinados de la cultura y del país, aludían en el imaginario local, a madres y novias con hijos o maridos presos, exiliados o desaparecidos y convirtieron estos grabados en un símbolo más de resistencia.

Museo Nacional de Artes Visuales
http://mnav.gub.uy/cms.php?a=207