lunes, 4 de diciembre de 2017

Pictopía 2018 Exhibition


PICTOPIA 2018 Open Call

Due to PICTOPIA‘s publication 10th anniversary (Promopress 2008) we are inviting designers and design students from all over the world to take part in the exhibition that will take place at Central de Diseño, Matadero Madrid, from December 21st 2017 up to January 20th 2018.

If you are interested in participating, you can upload your ICON, SYMBOL, PICTOGRAM or PICTOGRAPHIC ILLUSTRATION in portrait A3 format (29,7×42 cm.) here.

Be aware!
The deadline for this open call is december 18th.

THEME
Any issue that helps promoting messages based on social & political matters (social equality, human rights, childhood, immigration, sexual freedom, freedom of expression, animal rights, non violence, racism…) and cultural debate.

REMEMBER
1. The file format must be PDF (you can only send one design).
2. Portrait DIN A3 format (29,7×42 cm.)
3. You can include your name at the left bottom margin (Arial font, 10 points)
4. Deadline: december 18th 2017
5. Upload your design here:
https://dimad.org/pictopia-2018-form/
*If you have any question, contact with pictopia2018@gmail.com.

We have a dream!
We believe in the power of images to achieve social change.
We feel the obligation to ask questions, to share experiences
and to visualize messages that face daily oppressions.
PICTOPIA promotes designing graphic icons that motivate us
in the fight for happiness, justice and freedom.
_____________
PICTOPÍA 2018 LA EXPO

Con motivo del 10º aniversario de la publicación PICTOPÍA (Promopress 2008) invitamos a diseñadora/es y estudiantes de diseño de todo el mundo a participar en una exposición que se celebrará del 21 de diciembre de 2017 al 20 de enero de 2018 en la Central de Diseño de Matadero Madrid.

Si te interesa participar, envíanos tu ICONO, SÍMBOLO, PICTOGRAMA o ILUSTRACIÓN PICTOGRÁFICA en formato A3 vertical (29,7×42 cm.) a través del siguiente formulario:
https://dimad.org/pictopia-2018-form/

¡Atención!
El plazo de presentación termina el lunes 18 de diciembre.

TEMA
Cualquier cuestión que favorezca la promoción de mensajes centrados en cuestiones sociales y políticas (igualdad social, derechos humanos, infancia, inmigración, libertad sexual, libertad de expresión, derechos de los animales, noviolencia, racismo, etc.), y el debate cultural.

RECUERDA
1. Envía un archivo en PDF. (Sólo puedes presentar un diseño)
2. Formato vertical y tamaño DIN A3 (29,7×42 cm.)
3. Puedes incluir tu nombre en el margen inferior izquierdo (tipografía Arial, 10 puntos)
4. Fecha límite de envío: 18 de diciembre de 2017
5. Formulario de envío:
https://dimad.org/pictopia-2018-form/
*Si tienes cualquier consulta, escríbenos a pictopia2018@gmail.com.

¡Todos tenemos un sueño!
Creemos en el poder de las personas para lograr el cambio social. Sentimos la obligación de hacer preguntas, de compartir experiencias y de visualizar mensajes que afronten las opresiones diarias. PICTOPÍA promueve el diseño de iconos visuales que nos motiven en la lucha por la felicidad, la justicia y la libertad.
PICTOPIA 2018
is an idea by Un Mundo Feliz
Organizes DIMAD
With the collaboration of
Escuela ArteDiez
Minchō Magazine

viernes, 1 de diciembre de 2017

viernes, 24 de noviembre de 2017

Ché = Korda + Beltrán


50CHE

En ocasión del 50 aniversario luctuoso del asesinato de Ernesto Ché Guevara en Bolivia, la Universidad Autónoma Metropolitana de la Ciudad de México a través del Departamento de Investigación y Conocimiento del Diseño de la División de Ciencias y Artes para el Diseño, realizará una serie de Jornadas en Homenaje denominadas “5OCHE” y que girarán en torno al revolucionario de tal trascendencia histórica. Como parte de este evento y con la colaboración de la Bienal Internacional del Cartel en México se realizado una exposición internacional itinerante de cartel.

«Creadores de 16 países de América y Europa que fueron convocados sin distinción de edad, género, color de piel o credo y que para beneplácito de muchos, aceptaron ser partícipes de este homenaje que pretende en una fecha irrepetible, mantener viva la figura y el legado del Che, personaje de trascendencia histórica.» —Dulce Mª Castro Val

«Casa abierta al tiempo» Universidad Autónoma Metropolitana (UAM). Unidad Azcapotzalco. Ciudad de México

https://www.facebook.com/DepartamentodeInvestigacionyConoc…/

martes, 21 de noviembre de 2017

domingo, 19 de noviembre de 2017

jueves, 16 de noviembre de 2017

Nosotras sí somos manada!


El abogado de La Manada ha presentado un informe que pretende probar que la víctima no sufrió ningún trauma porque durante este tiempo ha salido de fiesta y ha tenido una "vida normal". ¿Cuánto tiempo más tenemos que soportar todo esto? 
Nosotras sí somos manada!

Gloria Fuertes!

Life meets symbols

Ideological abstraction

Symbology-phantasm

miércoles, 15 de noviembre de 2017

jueves, 9 de noviembre de 2017

domingo, 29 de octubre de 2017

Poster Power by Teresa Sdralevich


Poster Power
Great Posters and How to Make Them
by Teresa Sdralevich


A poster can be many things; a tool for advertisers, a means of propaganda or a call to arms. But in order to persuade or provoke, a poster must first inform and engage.

This book introduces the key conceptual and graphic elements that make up a great poster through simple text, illustrations and activities. Young readers are encouraged to think about how to marry two concepts to convey a single message; how to exploit the power of the diagonal and to consider how different typefaces impact on the words they are spelling out. Alongside these activities run reproductions of seminal posters through the ages by artists including Tomi Ungerer, Saul Bass and Alejandro Magallanes.

In the back of the book a selection of collage materials can be used to create incredible compositions.

Beautifully illustrated and packaged, this is a gift book that will delight and inspire.

Teresa Sdralevich is a graphic designer and illustrator whose work mainly addresses social, political and cultural topics. She regularly leads workshops across Europe: notably at Palais de Tokyo in Paris, Palazzo Grassi in Venice, Academy of Fine Arts of Sarajevo, Accademia di Belle Arti in Bologna.

INDEX OF DESIGNERS (in order of appearance)
Armando Milani, Pierre Mendell and Annette Kröger, Santiago Peralta, Damla Polat, Areti Gontras, Ralph Schraivogel, Władysław Pluta, Nicolas Lampert, Sandy Kaltenborn, Un Mundo Feliz (Sonia Díaz and Gabriel Martínez), Teresa Sdralevich, Hilppa Hyrkäs, Peter Kuper, Tomi Ungerer, Tom Eckersley, Joseph Binder, Saul Bass, Massimo Dolcini, John Alcorn, Joseph Klinger, Viktor Nikolaevich, Denisov alias Deni, Antonio Arias Bernal, Adolph Treidler, Abram Games, Jean Jullien, Bernard Chadebec, Uwe Loesch, Hans Hillmann, AM. Cassandre, Heinz Edelmann, Milton Glaser, Piotr Młodożeniec, Lex Drewinski, Yanes (Yanes Mayan), Noma Bar, Ilja Klemencov, Olivier Wiame, Ziad Alkadri, Henning Wagenbreth, Grapus, Jan Młodożeniec, Paul Rand, Jean-Christophe Geluck and Thierry Suykens, Josse Goffin, Marvin Boiko, Niklaus Troxler, Willem Sandberg, Alain Le Quernec, Edward Penfield, Agnieszka Ziemiszewska, Peter Bankov, Homa Delvaray, Baldinger – Vu-Huu, Lucien De Roeck, Alejandro Magallanes y Götz Gramlich.

The Halloween Political Party

New Nationalism

jueves, 26 de octubre de 2017

domingo, 8 de octubre de 2017

Underground Images (SVA posters) madridgrafica17


Underground Images: School of Visual Arts Subway Posters, 1947 to the Present 
A selection of over 60 posters from the wide array conceived at the School of Visual Arts for display in the vast New York City subway system. They offer a glimpse of the history of the college and the collective talent of its acclaimed design, illustration and photography faculty, some of whom created the posters in this exhibition. They include Gail Anderson, Marshall Arisman, Ivan Chermayeff, Paul Davis, Sal DeVito, Stephen Doyle, Louise Fili, Audrey Flack, Nathan Fox, Bob Gill, Robert Giusti, Milton Glaser, Phil Hays, Steven Heller, Mirko Ilić, Viktor Koen, Stephen Kroninger, Marvin Mattelson, Clay Patrick McBride, James McMullan, Jerry Moriarty, Tony Palladino, Edel Rodriguez, Stefan Sagmeister, David Sandlin, Paula Scher, Eve Sonneman, George Tscherny, James Victore and Robert Weaver.  SVA Executive Vice President Anthony P. Rhodes, creative director for the posters since 2007, is the curator of this exhibition. 
School of Visual Arts has been a leader in the education of artists, designers and creative professionals for more than seven decades. With a faculty of distinguished working professionals, a dynamic curriculum and an emphasis on critical thinking, SVA is a catalyst for innovation and social responsibility. Comprised of more than 6,000 students at its Manhattan campus and 35,000 alumni in 100 countries, SVA also represents one of the most influential artistic communities in the world. 
Imágenes Subterráneas: Carteles para el metro de la School of Visual Arts, 1947 hasta la actualidad
Una exposición de mas de 60 de los mejores carteles creados por la SVA para el vasto sistema del metro de Nueva York, ofreciendo una visión de la historia de la SVA y del reconocido talento colectivo de su profesorado en diseño, ilustración y fotografia--entre ellos los 30 artistas que crearon estos carteles:  Gail Anderson, Marshall Arisman, Ivan Chermayeff, Paul Davis, Stephen Doyle, Sal DeVito, Louise Fili, Audrey Flack, Nathan Fox, Bob Gill, Robert Giusti, Milton Glaser, Phil Hays, Steven Heller, Mirko Ilić, Viktor Koen, Stephen Kroninger, Marvin Mattelson, Clay Patrick McBride, James McMullan, Jerry Moriarty, Tony Palladino, Edel Rodriguez, Stefan Sagmeister, David Sandlin, Paula Scher, Eve Sonneman, George Tscherny, James Victore y Robert Weaver. Esta exposición está comisariada por Anthony P. Rhodes, vicepresidente ejecutivo de la SVA y director creativo de los carteles desde 2007.
La School of Visual Arts ha sido un líder en la formación de artistas, diseñadores y profesionales creativos durante más de siete décadas. Con un currículo dinámico y un énfasis en el pensamiento crítico, la SVA, con su claustro de distinguidos y activos profesionales, es un catalizador de innovación y de responsabilidad social. Compuesto por más de 6.000 estudiantes en su campus de Manhattan y 35.000 alumnos en 100 países, la SVA también representa una de las más influyentes comunidades artísticas en el mundo.

Take it easy!

lunes, 11 de septiembre de 2017

Take risks!


«When one is a full-time designer, there is little room for questioning, challenging, and shifting the profession. As teachers, we’re in a privileged position to effect change with our students, and maybe also take risks in our own practice.» —Kali Nikitas

martes, 5 de septiembre de 2017

lunes, 4 de septiembre de 2017

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.