Search results for "Graphic design"
showing 10 items of 51 documents
LEONARDO SONNOLI, MANY PARTICOULAR SIGNS
2006
Life of many men can simply be told by drawing lines on a map, so as to define a plot of paths and mark the borders of a new territory, where places are also performances of life's events, never before met, but lined up on a unique temporal plane. At the same way, Leonardo Sonnoli's professional and private life can be simply narrated by setting up connections of some cities, which has made him grow up as a man and a designer, in return for leaving a strong mark in himself. Trieste, a city at the boarding line between Italy and Slovene, where he was born and breathes an important graphical tradition, marked by several striking personalities, such as Dudovich and Metlicovitz. Urbino, proud a…
“Should she really be covered by her own subtitle?”
2016
This article provides a first concept of typographic identity in film and the impact of audiovisual translation on it. Based on an analysis of 52 films, relevant text elements and their graphical translation strategies in film were identified. Finally, possible shortcomings and challenges such as collisions and the impact on a film’s typographic identity and image composition are discussed as a first basis for further studies
The Role of Packaging in Positioning an Orange Juice
2007
Abstract This article revises the concept and positioning strategies according to the proposals of different authors. Positioning is related to variables in the marketing mix, and, specifically, to the main subject of this research study—packaging. The theories of different authors with respect to the functions of packaging and its constituent elements are revised and then attention is focused on four of its graphic elements: Color, shape, typography, and image. Within this framework, designer and consumer opinions are presented with the ultimate aim of identifying the associations between different positioning strategies and the different graphic design variables used to define an orange j…
Millennials. La nuova scena della grafica italiana
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 …
Mimmo Castellano. The Territories Of The Project / میمو کاستلانو۱ قلمروهای دیزا
2018
وقتی از طراحی میان رشته ای سخن می گوییم، ذهن ها به سمت یکی از نشانه های شاخه های رشته ی دیزاین می رود. این رشته مدت ها با دیگر رشته های علمی و دانش های حرفه ای همراه بوده است و دلیل این امر نیز روح ذاتی و قویِ ارتباطی مکالمه ای آن است. طراحی میان رشته ای ماهیت و ساختاری با مرزهای نامشخص ایجاد کرده است که هر لحظه امکان تغییر آن وجود دارد. این رشته امروزه جایگاه ویژه ای در دیزاین دارد، اما پیش از آنکه با موجودیت مستقل خودش شناخته شود، همواره از طراح در زندگی حرفه ای اش دربرابر نیاز به تحصیلات حمایت کرده و بر ماهیت گروهی این حرفه تأکید داشته است. جیلو دورفلس۳ طراحی میان رشته ای را عامل متمایز کننده ی طراحی صنعتی و دیگر انواع تولید خلاقانه ی پیش از آن می داند. به همین دلیل، بحث درباره ی دیزاین،…
PAOLO DI VITA 規則和/或情感 / PAOLO DI VITA, the rule and/or the emotion
2009
Paolo Di Vita是 - 如果我們試圖用一個形容詞來描述他 - 一個謹慎的平面設計師，這種品質不僅區分了他的作品，也區別於他的氣質。從這個意義上說，他私人生活和職業生活的兩個領域相互配合，相互滲透，產生了和諧的連貫性，勾勒出一個具有明確的道德和責任觀念的人物。外觀並不起次要作用，相反，它有助於我們進入並理解其設計世界，在那裡沒有形式主義，流行趨勢，奉承或眨眼的方式。所使用的每一個元素，無論是顏色，形狀，字體還是圖像，都是明智的比例，因為廚師會在配料中加入配料，這些配料不會對口感產生即時的慷慨影響，但需要一些時間才能產生。自己起來，慢慢品味。 同樣，Paolo Di Vita的作品有時呈現出外觀粗糙，這是一種阻礙觀察者立即參與的障礙，因為它們並不總是容易掌握並需要進一步努力才能完全理解除了在表面，也是更隱蔽的層面，紙張上建立的連接網絡支持強烈的緊張情緒，有時通過虛線，切口和划痕可見。 Paolo Di Vita is - if we would try to describe him with an adjective - a discreet graphic designer, and this is a quality which distinguishes not just his work but also his temperament. In this sense, the two spheres of his private and professional life, well match and permeate each other, generat…
DESIGN THINKING MODELS IN DESIGN RESEARCH AND EDUCATION
2016
Design thinking has become a paradigm that is considered to be useful in solving many problems in different areas: both in development of design projects and outside of traditional design practice. It raises the question - is design thinking understood as a universal methodology in all cases? How it is interpreted in design education? The analysis of theoretical and design related literature indicates different basic and contextual challenges facing design today: increasing scale of social, economic and industrial borders; complexity of environment and systems; requirements in all levels. As specialists and researchers in the field of design have concluded, here are multiple disconnects b…
AG FRONZONI,一個字母片段包含整個世界 / AG FRONZONI, a fragment of letter contains the whole world
2009
AG Fronzoni總是從牛群中走出來，作為一個巨大的鯨類，他獨自穿越海洋，就像一個想要測試自己能力的孤獨探險家，他知道首先他可以依靠自己的勇氣，除了必要的設備。同樣，他經歷了無盡而冰冷的冰川，在那裡，他已經學會瞭如何認識如此多的白色色調，並以不同的方式命名每一個，或者包含所有顏色的黑色。整個黑色作為夜晚的落下，無法吞噬每一個元素，包括那個向上彎曲的白色擴散溶解每一個突破，與極地天空變得一模一樣，白色像同樣的冰凍表面，漂白黑夜，深褐色至淺灰色，暫時取消其記憶。從來沒有看到絕對勝利者的驚人決鬥再次以這種方式形成，黑色和白色像古代的對手一樣彼此面對，意識到他們可以互相傷害死亡，但他們不能沒有另外，在反對派中很好地描述了與光明和黑暗交替有關的一個主要謎團。 A G Fronzoni has always swum away from the herd, as an enormous cetacean he has crossed alone the oceans, like a solitary explorer who wants to put his capabilities to test , and he knows that first of all he can count on his own courage, in addition to the essential equipment. The same he has gone through the endless and livid glaciers, where like the esquimese peo…
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…