Search results for " graph"
showing 10 items of 1277 documents
布鲁诺·蒙古齐 / BRUNO MONGUZZI, stone and air, architecture and harmony in Monguzzi’s graphics
2009
对于一个平面设计师来说，能够像使用他的创作 工具那样习惯于精确和耐心的运用视觉语言是件 罕见的事情，但是对于布鲁诺· 蒙古齐（BRUNO MONGUZZI）这个在遣词造句甚至含沙射影方面都 颇有造诣的设计师来说，这就像训练有素的剑客 在决斗中一样这不足为奇。 因此，倾听他的讲话是一件令人愉快的事情。这 让听众们就像获得了一项进入他那些不能轻易被 阐释的作品的特权：对于平面设计和字体设计的 基本知识。他的工作看上去是二维的，但是实际 上他们是一种多维的建筑艺术：作为一个设计项 目的表达，类似于主要形状与其它部分共同寻找 平衡稳定的设计基础结构，以及建筑部门之间通 过文本和图像的穿插创造出一种数量和设计的空 间而非简单的填满构架。在这些意义上它们是多 维的。但是这不是单纯的把他的设计分解成为并 不关联的建筑层面，它更是一种力量，通过作者 对每一个独立的部分审慎的细节刻画而体现出 来。当很多设计师认为设计已经完成的时候，蒙 古齐还在思考着改进的余地，这是一个含砂吐珠 般缓慢渐进的过程。 To meet a graphic designer gifted with skill in the use of words, who can cope with them with the same patience and expertise he’s accustomed to when he manages his working tools, it’s a quite rare thing, but it’s not alien to Bruno Monguzzi who manage…
Beppe Chia and Chialab, 彼普·嘉 / Beppe Chia and Chialab, vision of graphics
2010
当Beppe Chia把研究建立在八十年代中期附近 的时候，他也许没想到，自己研究成果的规模和 重要性会随着时间的推移而被放大，但或许他那 时已经有所察觉了，因为他选择了Chialab这条 标签，他把自己对图像的观点与对合作的理解结 合在一起，在实验室、锻造车间以及分享观点和 主意的地方，以各种方式加以考虑。在古老的博 洛尼亚镇中心附近有一所超出他预想的地板房， 透过一扇玻璃舷窗，这所房子的门总是向外面敞 开着，你会发现自己完全陷入这些环境中，把自 己置身于不同的高度，完全不需要出入口。他们 聚集在一起，共同投身于书籍、研究、设计、讨 论、摄影、烹饪和食物的消耗。这些相同的场所 仅仅是一个人们可以围坐在大桌子周围的地方或 是一个小型的内部花园。我正在描绘一个地方， 原先是一间老厂房，能在这里，在Chialab这个视 觉交流的地方工作，产生出大量的想法，并可以 When Beppe Chia founds his study around the half of the eighties, he does not imagine perhaps the dimensions and the importance which it will assume as time goes on or maybe he knows, because the label that he chooses, Chialab, puts together his own views of graphics and what he thinks of teamwork, which is consi…
Giovanni Pintori. 乔凡尼·皮托瑞 / Giovanni Pintori. Dots, Lines, Surfaces
2010
这是一张Ugo Mulas摄于Bocca di Magra充满 渴望的照片：照片上的Giovanni Pintori侧着身， 逆光打在他的小船上，显现出迷人的几何图案， 驶向充满雾气的公海的小船，主船桅像未出鞘的 剑，帆被风吹得肿肿地鼓了起来。他是一个瘦小 的男人，然而大海非常广阔，显得很不相称，不 过他一点也不畏惧。他与生俱来的勇气使他有魄 力提着行李箱离开撒丁岛，所有的都是从一位岛 上居民那儿听来的，就像要剪断母亲的脐带一样 令人痛苦和不可阻挡。当他离开的时候，他还是 个年轻的孩子，但他凭借一贯的自信成功地走上 了职业设计师的道路，并从不放弃任何一个偶然 得来的机会。 There is a longing photo taken by Ugo Mulas at Bocca di Magra on which Giovanni Pintori, photographed in profile and against the light on his small boat showing a charming geometric décor, moves towards the open sea in the foggy background, with the mainmast which is unsheathed like a sword and without a sail to be swollen by the wind. He is a little and small-boned person, whereas the sea is wide and inco…
Sistemi di identità visiva per i luoghi della cultura
2012
Si potrebbero ricostruire le storie delle cose anche solo ripercorrendo le trasformazioni delle parole che le contraddistinguono, le quali, avvicendandosi, custodiscono ben più di quello che lasciano trasparire dal semplice accostamento di una serie di glifi, a cui corrispondono suoni, segni e significati. Così i passaggi non semplici dalla generica definizione cose d’interesse artistico e storico, come viene riportato nella longeva legge 1° giugno 1939, n. 1089, conosciuta come legge Bottai dal nome del suo relatore20, che è considerata fondamentale in materia di tutela (oggi confluita nel Testo Unico dei beni culturali, D. lgs. 29 ottobre 1999, n. 490), alla definizione più precisa e circ…
Carattere Universale. Innovazione senza Stile
2019
Il Bauhaus (1919-1933) ha segnato la storia. Questa scuola fu animata da alcuni degli artisti-progettisti più rilevanti del Novecento, da Gropius a Kandinskij, da Itten a Moholy-Nagy, non riconducibili a un approccio univoco. Eppure, l’idea del Bauhaus, che ha innervato il dibattito e la pratica del progetto in Europa e negli USA (e non solo) per decenni, si è risolta in una sorta di International Style che, nella tipografia, corrisponde al carattere Universal di Herbert Bayer (1925). Il presente articolo mira a evidenziare come il carattere universale, che raffigura per noi oggi lo ‘stile’ della Modernità, fu in principio innovazione allo stato puro: una configurazione volta all’effetto, a…
Works with Heart and Soul
2008
He states:" I love letters for they are atoms of communication, ambiguous objects and subjects of experimentation of avant-gardes in XX century" . He does not manage to fulfil his curiosity and his huge and not hidden pleasure to go on experimenting with those little elements which make alphabets, living not only by themselves but also as members of a coupled system, that is syllables, or of a more complex one, that is word. Every letter is accurately analysed, stripped down and then assembled again as in the patient research for a common denominator which stand at the base of each one of them. One or more standards are individuated in order to compose them in the space, so translating a co…
Luigi Farrauto, 旅行者设计师 / Luigi Farrauto, travelling designer
2010
Luigi Farrauto成功地融合了自己生活中的两个方 面——专业的工作和激情的生活，这使他成为了一 位独一无二的平面设计师，而同时又是一个热情的 年轻人。他对旅行和学习的热情以及他对信息系统 设计和标志设计的热情相互渗透并互相补充，产生 了一种持续的交叉互补，这种交叉互补可以自然而 然地自生下去而不需要有意为之。旅行者的眼光是 犀利、敏锐而又仔细的，能够捕捉到一个领域中的 不同元素、不同图标和不同文字，这在设计帮助人 们自我定位的标志系统时十分有利。 Luigi Farrauto has been able to put together two aspects of his life, the professional and the passionate ones, merging them in a sole and unique specificity, which distinguishes him both as a graphic designer and as a young man. His passion for travel and study and for the design of systems of information and of signs, penetrate and feed each other, generating a continuous cross-reference which perpetuates itself without any apparent effort. The traveler’s gaze i…
MARINA DEL CINQUE，花邊和字母刺繡 / MARINA DEL CINQUE, lacework and embroidery of letters
2009
平面設計師Marina del Cinque的名片呈現了一個大拳擊M，如果舉起來，它會成為一個小門戶，我們被邀請去探索她的世界。一個世界的圖形統治無可爭議，並在所有事物上留下了它的標誌，不僅顯然在她的作品上，而且在她的私人空間，她的日常激情以及她的生活方式和看待生活。從學習年代到自由職業的兩位大師長期陪伴她的教誨都存在於她身上。第一個是Germano Facetti，她在她的故鄉Genova遇見，當時她正在Istituto Politecnico di Design學習，這是一個由優秀教師組成的小型圖形學校，現在已經不存在了。他傳遞給了她，或者更好的是，當她強調對圖形和字母的熱愛時，他安裝在她身上。第二位大師是Italo Lupi，這位圖形建築師與她建立了一種基於高度尊重和選擇性親和力的關係。她與他合作了十年，只是在短時間內打斷她搬到倫敦為Pentagram工作室工作。 Lupi傳達了她對這些信件的熱愛，這些信件是人們所擁有的，並讓她發現美麗和色彩感，對於那些忠於反對者和完全清晰的黑白分明的她來說。 The visiting card of the graphic designer Marina del Cinque, presents a big punched M, which if lifted up becomes a little portal beyond which we are invited to go to discover her world. A world over wich graphics reigns undisputed and leaves…
L'urgenza di un identikit
2015
L’idea di Millennials è nata, si è sviluppata e articolata, strutturandosi in modo ben più complesso da quelle che erano le istanze iniziali, intorno a una necessità: fotografare la scena della grafica italiana degli anni più recenti, focalizzandosi sulle produzioni di autori nati dopo il 1980. Il discrimine temporale nasce dalla constatazione di un cambio di passo, di una trasformazione radicale dovuta a più fattori: l’evoluzione tecnologica (è questa la prima generazione completamente digitalizzata), la crisi economica, che ha necessariamente imposto nuove modalità di produzione e di autorappresentazione, i percorsi formativi, strutturati da corsi di studi rivolti all’ambito disciplinare …
Oded Ezer: Tipocriaturas
2012
Oded Ezer, Israeli type and graphic designer sui generis, has received numerous international awards in recent years, such as awards, participation in congresses and workshops, and has seen his first monograph be born (AA.VV., Oded Ezer. Typographer's Guide to the Galaxy, Gestalten, Berlin, 2009), all elements that have rapidly consolidated the recognition and the knowledge of his work and his transversal and interdisciplinary modus operandi. But among these was a monographic exhibition in which all his work, both professional and experimental, was exhibited. The void was filled at the end of 2011 by "Oded Ezer: Tipocriaturas", not one but two exhibitions entirely dedicated to him in Brazil…