EME Experimental Illustration, Art & Design - No 03 (2015)
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ILUSTRAFIC/reportajes
- Buenas Piezas. Arnal Ballester
- #36daysoftype - Nina Sans y Rafa Goicoechea
- Vendiendo oro
- Perfiles
WRITING/textos de investigación
- La marca: señal, nombre, identidad y blasón
- El gesto como icono Análisis de la evolución de los elementos interactivos en el ámbito digital
- Una cuestión de anatomía: el diseño del pictograma asociado al género femenino
- Supergráfica
- Aprendiendo del símbolo: imagen y referencia simbólica en los inicios del discurso arquitectónico posmoderno
- Y en polvo te convertirás. La Danza Macabra como advertencia y consuelo de la universalidad de la muerte
WORK IN PROGRESS/investigación & procesos
- Las aventuras de Mortimer y su proceso creativo
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- Publication#36daysoftype - Nina Sans y Rafa Goicoechea(Universitat Politècnica de València, 2015-04-30) Goicoechea, Rafael; Sans, Nina[ES] El proyecto 36 Days of Type nace en un primer momento con el objetivo de convertir un reto personal en un reto colectivo.
- PublicationAprendiendo del símbolo: imagen y referencia simbólica en los inicios del discurso arquitectónico posmoderno(Universitat Politècnica de València, 2015-04-30) Pérez Rodrigo, José David; Dpto. de Pintura; Facultad de Bellas Artes; Centro de Investigación Arte y Entorno[EN] This article makes an approach to the symbolic recovery as the fundamental argument used in the revised edition of Learning from Las Vegas (Venturi, Scott Brown & Izenour, 1977), a text which had with important repercussions on counter-modernist architectural theory. This recovery, extremely critical with the vulgarised imposition of the functionalism of the international style, coincides with the North American Neo-avantgarde’s rejection of the formalist academicism of abstract expressionism, as well as with the crisis of the concept of modernity, caused by what was conceptualised, not without certain confusion, as post-modern thought.
- PublicationLas aventuras de Mortimer y su proceso creativo(Universitat Politècnica de València, 2015-04-30) Gironés Sarrió, Gonzalo; Tortajada Santiago, Marta; Pérez Górriz, Isabel; Ballesteros Alcolea, Rubén[EN] Tackling a new project as a cross-discipline team has always meant an enriching experience. If the goal of the project is educational, then the result will double its interest. “Les aventures de Mortimer i la història del cinema d’animació” (The Adventures of Mortimer and the History of Animation) was the title of the project developed for the cultural centre Espai Rambleta, Valencia, to bring the history of animation to the general public, in an educative, fun way. This project is also one of the pieces developed within the course on Didactic Animation taught by David Heras, in the Master on Design and Illustration by the Universitat Politècnica de València (Polytechnic University of Valencia). It can be seen at http://larambleta.com/mortimer.
- PublicationBuenas Piezas. Arnal Ballester(Universitat Politècnica de València, 2015-04-30) Heras, David[ES] Entrevista. Nuevos medios, nuevas formas.Arnal Ballester (Barcelona 1955) desarrolla la mayor parte de su trabajo en el campo editorial como ilustrador de libros y portadista
- PublicationUna cuestión de anatomía: el diseño del pictograma asociado al género femenino(Universitat Politècnica de València, 2015-04-30) Quindós González, Tania; González-Miranda, Elena; Universidad del País Vasco/Euskal Herriko Unibertsitatea[EN] The pictogram representing a woman to indi-cate women’s toilets is a subject of controversy, prompting various questions relating to the sign’s validity and design. This paper research-es the representation of the female figure. More-over, we propose different graphic solutions and viable approaches to reconsider the design of this pictogram for our contemporary society
- PublicationEl gesto como icono: Análisis de la evolución de los elementos interactivos en el ámbito digital(Universitat Politècnica de València, 2015-04-30) Linares Pellicer, Jordi; Rodríguez Calatayud, Nuria; Sanchis Gandía, Álvaro; Dpto. de Pintura; Facultad de Bellas Artes; Centro de Investigación Arte y Entorno[EN] In the digital field, the evolution of interactive settings has always been linked to technologi-cal progress and the settling of collective use experience. Currently with the arrival of smart mobile devices we attend to a new stage in the evolution of digital settings. The icon, fre-quently established as key to all interaction in operative systems, has given way to new com-municative resources capable of coexisting and structuring different use experiences in the service of information.
- PublicationLa marca: señal, nombre, identidad y blasón(Universitat Politècnica de València, 2015-04-30) Chaves, Norberto[EN] The brand, as identifying graphic sign, has inher-ited the features developed through a history of thousands of years, the history of signage. Along the way it accumulates several levels of meaning which associate it to the user’s identity. The qual-ity of the designs increases as much as all those levels appear in the work of the designer, since they allow discarding previous concepts that propose false functions of the brand and adhere to the requisites of the identifying function.
- PublicationPerfiles(Universitat Politècnica de València, 2015-04-30) Benso, Ada; Segura, Violeta; Bueno, LeireNide Betowers
- PublicationSupergráfica(Universitat Politècnica de València, 2015-04-30) Yoldi López, Mónica[EN] We can define supergraphics as large-scale or great format graphic design. The great pioneer of supergraphics during the 60s and the 70s was Barbara Stauffacher Solomon who was followed by designers like Lance Wyman or Jean Philipe Lenclos. We will study the relevancy of supergraphics at present considering that many graphic designers work in spaces and buildings using supergraphics. Paula Scher or Morag Myerscough are two of the most significant figures of this trend, named Environmental Graphics in the English-speaking world. Likewise we will study how contemporary art and, in particular, Street Art are closely linked and related to supergraphics
- PublicationVendiendo oro(Universitat Politècnica de València, 2015-04-30) Taño, Elías¿Qué es un fanzine? Hace poco escuchaba una de sus definiciones más acertadas: un estado espiritual.
- PublicationY en polvo te convertirás. La Danza Macabra como advertencia y consuelo de la universalidad de la muerte(Universitat Politècnica de València, 2015-04-30) Garrido Barbera, Manuel[EN] The Dance of Death is an allegorical theme which first originated in the Late Middle Ages, and it symbolizes the universality of death. Death, in skeleton form, leads living people with its dance to the grave, regardless peo-ple’s age, occupation or social condition. Early on, the topic is treated in religious and literary texts and then become represented by frescoes located in cemeteries, churches and Christian convents. Later, these paintings would be re-produced in engravings and numerous illustra-tors would make their own versions from the sixteenth century to the present day, adapting the theme to their tastes, styles and interests