a través de Apple Music por ALEXANDER WANG — EVMD
Los aportes más valiosos al mundo del diseño sin duda los dio la Escuela de la Bauhaus. Se inauguró en Alemania en 1919 y revolucionó los parámetros académicos burgueses del arte de aquella época, estableciendo una nueva visión de lo estético y funcional entre arquitectos, escultores, pintores, etcétera.
»Entran en breves periodos de sueño profundo y REM cada noche sin perder el control.
»En situaciones difíciles mantienen un hemisferio cerebral despierto y el ojo correspondiente abierto.
Las fragatas son expertas en largos viajes. Englobadas en la familia Fregatidae, todas son de gran tamaño, superando los dos metros de envergadura alar. Sin embargo, pese a su tamaño, el esqueleto apenas supera los 100 gramos.
What’s been most exciting for me over the last five to 10 years is the fantastic explosion of expressive and exploratory typography and professional fontseverywhere. I’m completely inspired by the emergence of so many type designers of tremendous skill and talent, hailing from all over the world. I admire designers like Henrik Kubel, Peter Bil’ak and Kris Sowersby, to name just a few.
They find old forms and reinvent them, or craft seemingly impossible ligatures, or make bizarre stencils, or combine shapes previously unthinkable, and they stretch readability. They increase what is possible. In my 40-plus years of designing, I don’t remember a period when typography has been better crafted, and more appreciated by non-designers. And it’s never been more fun. Every project seems to demand the invention of its own font. It’s so doable – even practical and cost-effective.
Typographic technology, art and craft are more in sync than they have ever been
Typographic technology, art and craft are more in sync than they have ever been. I marvel at the typographic dexterity and sophistication of my students. My class of seniors is completely international and diverse, but they seem to have all seized upon the creation of letterforms, in many languages and with different alphabets, to create an international way to see. We read the forms first, not the words; we understand what we see before we understand what it says. But it is literate. This is the language of our time.
So I was astonished and delighted last year at a design conference by a presentation by Sascha Lobe on his design for the Bauhaus Archive. He began by talking about what we all believed we know from the Bauhaus: ‘Less is more’, ‘Form follows function’, etc. “Yes, that old lecture again,” I thought.
Then suddenly he began showing the absolutely crazy letterforms established by the Bauhaus designers. I must have seen them before – I know I had – but never quite this way. They hadn’t abandoned their decorative past, they had recycled and reused it. And those guys didn’t take their own advice. Form followed nothing! Less was pointless! They were playing around, having fun and reinventing form. Their work was idiosyncratic, complicated, even sometimes ornate, rich with impossible ligatures and bizarre spacing.
Sascha had culled the Bauhaus Archive for inspiration to solve a contemporary problem, and what he’d found through that lens was utterly contemporary. He took the crazy letterforms the designers had created and used them to build a new alphabet that married the old and new in a way that’s emblematic of the Bauhaus in of our time. It’s the best use of a combination of historical and contemporary typographic form I have ever seen. But it’s what we are all doing, have been doing and will be doing.
We constantly look for trends and want to spot what we perceive as new, and what will be influential in the future. But there isn’t really anything new. There are only individuals with passion finding interesting, challenging and often provocative ways to reinvent what will always continue.
¿Sabías que existe un perfume con olor a libro nuevo? Fue creado por el diseñador de Chanel, Karl Lagerfeld, junto con la revista Wallpaper. Se llama “Paper Passion” y es unisex. ¿Lo usarías? Mucha gente te esnifaría en plena calle, te avisamos. Porque a muchos de nosotros nos encantaba la vuelta al cole, sobre todo, para sumergir la nariz en aquellos libros nuevos.
FERNANDO MASTRANGELO (BORN 1978) IS A BROOKLYN-BASED CONTEMPORARY ARTIST
Fernando Mastrangelo uses materials for their aesthetic and historical senses and for their power to signify. His works ignore any bias regarding criss-crossing design and fine art as well as commodity and aesthetic functions. Mastrangelo uses pure form and symbolic meaning to transform commodity goods into sculptures, functional objects, and wall-hanging pieces referencing art and social histories as well as the seductive ideas of sacred geometry. With materials such as salt, coffee, sand, and cement, the artist expands our experience of everyday materials, granting them an otherwise unnoticed cutting-edge, sophisticated minimalism. The works are intriguingly contradictory – being both rugged and refined, durable and delicate – yet without fail, they achieve harmony through Mastrangelo’s painstakingly precise production.
Una descarada y espectacular naturaleza parece casi saltar de cada fotografía de Reuben Wu. El secreto de su fuerza reside en la iluminación teatral y aérea que aplica a sus escenas gracias a un dron. Aunque no es el único que emplea un dron como herramienta fundamental para la realización de sus fotografías (algunos recordareis al fotógrafo Drik Dallas), estas imágenes tienen una intensa carga emocional.
El primer día de la Comic Con arrancó con sus habituales stands de anime, comics, juegos de cartas, accesorios de icónicos personajes y novedades de todo este mundo. Los cosplayers también dijeron presente, y las fotos los invadieron, con la presencia del doble de “Bruce Willis” que se paseaba por ahí con heridas y un […]
a través de ARGENTINA COMIC CON 2016: PRIMER DÍA Y CONFERENCIA DE BILLY BOYD — VELOURIA
“One rainy day, I looked down on an intersection from a vantage point in a high rise – umbrelllas looked like flowers that had bloomed in a city,” says the Japanese photographer.
This striking series of images was photographed by Yoshinori Mizutani on pedestrian crossings in Shibuya and Asakusa in Tokyo. Photographing from above, the gloom and greyness we normally associate with rainy days is removed and instead the brightly coloured scenes are positively cheerful.
“Zebra crossings, umbrellas and vehicles were so beautiful and strange at the same time and looked as if they had been placed there as part of a grand visual design within the city,” says Mizutani. “The photographs were taken from a high rise with the help of ultra-telephoto zoom lenses. It was difficult to find a perfect location to shoot from. I used Google Maps – finding a right location took as long as the shooting itself.”
Mizutani has previously gained attention for another brightly coloured series of work, which features green parrots in Tokyo. His work is photographed on the street, but he uses Photoshop and artificial lighting techniques to give the images their graphic look.
“I use Photoshop in the postproduction, which is a key part of my work,” he says, “but I’ll never merge one photo to the other. I’d only adjust brightness, contrast and saturation to get the kind of an image I’m after. For instance, I photographed with a strobe light when working on Tokyo Parrots. I first didn’t use a strobe, but couldn’t capture parakeets clearly in this manner and eventually came to use a strobe light as a solution… This is the beauty of photography. You take photos every day and learn or get inspired from the photos you have taken.”
Alongside these personal series, Mizutani has also shot for brands including Panasonic and Issey Miyake. He will be showing his work in his first UK exhibition at the Webber Gallery Space in London from May 20-June 21, during Photo London.
“I came across Mizutani’s printed works at last year’s edition of Photo London and became fascinated by his refreshing and unfamiliar observations of Tokyo,” says Chantal Webber, founder and director of Webber Represents. “I am intrigued by his search for nature within an urban environment and depiction of beauty, geometry, pattern and luminosity in the everyday.
“For me, Mizutani is part of an exciting new wave of young Japanese photographers who have gained notoriety via book publishing and the internet. Social media is also playing a big part in discovering new talent and as Yoshinori’s work is so fresh and visually striking, it stands out from the crowd.”