BibliOdyssey : Nuclear Reactor Cutaways
What’s With All Of The ’#Hairy_Arms' In #Graphic_Design? : NPR
The term “hairy arms” is used in the world of graphic design and illustration. But what does that mean? Melissa Block talks to graphic designer Jessica Frease about the industry lingo.
Josef Albers’s Albums Covers: the Provocative and Persuasive Percussions Series (1958-1961) – SOCKS
Enoch Light (1905-1978), a classical violinist, bandleader and sound recording engineer, founded Command Records in 1959, with the precise purpose to create recordings of high quality and able to take advantage of new technical capabilities of home audio equipment between late 1950’s and early 1960’s. He perfected a specific stereo system, called the “ping-pong effect” bouncing sounds between the left and the right channel speakers. In order to describe technical details of each song (duration, musicians, the depth and breadth of the sounds, and how they were recorded), he doubled the size of the standard cover sleeve and, enabling that to fold, he basically invented the gatefold cover, the standard format for vinyl funtil today. The covers of Command Records often showed modern and abstract designs, as Charles E.Murphy, the label’s art directory worked closely with a number of artists.
To Transcend Reality and Function as Symbol: Stage Design of Edward Gordon Craig – SOCKS
Born in 1872 as illegitimate son of an architect and of the revered actress Dame Ellen Terry, Edward Gordon Craig was raised as an actor in the company of Sir Henry Irving, only to discover later his true vocation as a theatrical designer.
Similar to Adolphe Appia in his struggle against the reproduction of reality, Craig envisaged scenic environments designed to appel to the emotion through visual suggestion, evocation and symbolist aesthetics. Without actually meeting until 1914, the two shared and promoted similar ideas on the use of light and stage space: Craig used to lit the stage from above, rather than adopting the traditional foot lighting. Colour and shadow played a strong role in his sets: “Under the play of this light, the background becomes a deep shimmering blue, apparently almost translucent, upon which the green and purple make a harmony of great richness.” (Craig in Bablet, 1981).
The Golden Ratio: Design’s Biggest Myth | Co.Design | business + design
In the world of art, architecture, and design, the golden ratio
has earned a tremendous reputation. Greats like Le Corbusier and Salvador Dalí have used the number in their work. The Parthenon, the Pyramids at Giza, the paintings of Michelangelo, the Mona Lisa, even the Apple logo are all said to incorporate it.
It’s bullshit. The golden ratio’s aesthetic bona fides are an urban legend, a myth, a design unicorn. Many designers don’t use it, and if they do, they vastly discount its importance. There’s also no science to really back it up. Those who believe the golden ratio is the hidden math behind beauty are falling for a 150-year-old scam.
@reka mon radar de second degré n’a jamais fonctionné. Et en plus j’ai toujours le sentiment que le fait de ne pas comprendre le second degré finit tôt ou tard par fonctionne contre moi et m’exclure. Et exclure ceux qui y sont imperméables. Du coup une fois de plus j’ai répondu avec le sérieux très premier degré qui me caractérise.
Représentation visuelle : This is your brain on drugs — Meaghan Li
Un designer prometteur que j’ai rencontré à Linz en janvier 2014
graphic designer based in Vienna/ Linz, Austria.
Inge Druckrey: Graphic Design, Typo, Teaching to See on Vimeo
“If you do one thing today, watch this 40-minute crash course in Design Thinking.”
FastCompany [ fastcodesign.com/1670615/a-40-minute-crash-course-in-design-thinking ]
“A great story beautifully told.”
Ken Carbone, Designer, Chief Creative Director, Carbone Smolan Agency
“This [film] is about patient and dedicated teaching, about learning to look and visualize in order to design, about the importance of drawing. It is one designer’s personal experience of issues that face all designers, expressed with sympathy and encouragement, and illustrated with examples of Inge [Druckrey]’s own work and that of grateful generations of her students. There are simple phrases that give insights into complex matters, for example that letterforms are ‘memories of motion.’ Above all, it is characteristic of Inge that in this examination of basic principles the word “beautiful” is used several times.”
Matthew Carter, type designer, MacArthur Fellow
“This film is absolutely beautiful. I’m so impressed with it and learned so much in such a compact piece. I feel like it picked up where Helvetica left off with the subtle principles of typographical balance and some early history stemming from the human hand. Your wonderful teaching approach comes through loud and clear and stands as an inspiration and model for others including myself. This is fantastic.”
Luke Geissbuhler, Cinematographer of Helvetica and other films
“A great documentation of the visual values we hold dear.”
Roger Remington, Vignelli Distinguished Professor of Design, RIT
“A fine, insightful and educational documentary. It captures Inge’s work as a designer and educator, her thinking and her SEEING, in a wonderful and most perfect way. Truly Inspirational!”
Hans-Ulrich Allemann, Designer/Educator
Data Points: Visualization That Means Something. Présentation du dernier ouvrage de Nathan Yau (FlowingData)
In his bestselling book Visualize This, Nathan Yau introduced you to the tools and programming techniques for visualization. Now, in Data Points, he explores the thinking process that helps you create original, meaningful visualization. Start with the data and build.
Table of Contents
Chapter 1 — Understanding Data
Chapter 2 — Visualization: The Medium
Chapter 3 — Representing Data
Chapter 4 — Exploring Data Visually
Chapter 5 — Visualizing with Clarity
Chapter 6 — Designing for an Audience
Chapter 7 — Where to Go from Here
Visualization is often approached within a rigid framework of design rules and principles. We tend to think of it as charts that have been optimized for graphical perception and anything that sits outside the framework must not work. This notion is outdated.
Bonjour, je m’appelle Hélène.
Je suis une jeune graphiste, étudiante en design typographique à l’École Estienne à Paris.
Je cherche actuellement un stage à l’étranger (de février à mai 2012)
et je suis aussi intéressée par des projets en freelance.
J’ai quand même mis à jour