Emigre No. 70 - The Look Back Issue

Emigre No. 70 - The Look Back Issue
Selections from Emigre Magazine #1 - #69
This 512-page book, designed and edited by Emigre co-founder and designer Rudy VanderLans, is a selection of reprints that traces Emigre’s development from its early bitmap design days in the mid 1980s through to the experimental layouts that defined the so-called “Legibility Wars” of the late 1990s, to the critical design writing of the early 2000s. Featuring interviews with, among others, The Designers Republic, Allen Hori, Rick Valicenti, Vaughan Oliver, Mr. Keedy, Ed Fella, and essays by Lorraine Wild, Anne Burdick, Zuzana Licko, Kenneth FitzGerald, Andrew Blauvelt, Kalle Lasn, Rick Poynor and many more.

Geza M. Tot - KEDD Animation Studio

		Born in 1970. Hungarian artist, animation filmmaker Geza M. Toth has been working also as a tutor at several animation film institutes such as the Animation Department of the Moholy-Nagy University of Art and Design, Budapest, the Royal College of Art, London, the National Institute of Design, Ahmedabad (India) and Filmakademie Baden-Württemberg, Ludwigsburg (Germany). Founder and managing director of the KEDD Animation Studio. In the past years has created approx. 120 animation signals, commercials and short animation films. His productions were successfully screened at different international festivals all over the world. In 2007 his short film, 'Maestro' was nominated to the American Academy Awards in the Best Animated Short Film category.

40 examples of beautiful typography in advertising design

by Sebastiano on 19/03/09 at 4:19 pm

Creative Industrial Design : Literalist Product Packaging

naoto fukasawa

was born in yamanashi prefecture, japan, in1956.
he graduated from tama art university's product
design department in art and 3D design in 1980.
until 1988, fukasawa worked as a designer at
seiko-epson corp.
in 1989, he left japan for the united states.
in san francisco he joined a small office that had
employed 15 persons - ‘ID two’, the predecessor
to ‘IDEO’, which now has 450 staff in san francisco,
palo alto, boston, chicago, london and munich.
after eight years fukasawa returned home.
in 1996, he helped set up ‘IDEO’ in japan - a team
of eight designers working mainly for the japanese
market. he stayed with it until december 2002.
naoto fukasawa he went independent and in
january 2003 he established ‘naoto fukasawa design
in tokyo. fukasawa joined the advisory board of the
japanese company ‘MUJI’.
Read more...

Optical Illusions in Advertising

(c) MACLAREN MCCANN CANADA INC. - Optical Illusions in Advertising

KINETIC ART : FROM PAINTING TO ARCHITECTONIC

Victor Vasarely is often perceived as the father of Op’art.

The notion of cinetic art appeared for the first time in 1964. It aspires to explore simple geometric elements and the physics of shape in order to create dynamic optical phenomenon that entice a spectator’s active observations.

The result of artistic research carried out simultaneously by Albers and Vasarely, Op’art was born in 1955. Their initial work on this new artistic movement was furthered by subsequent generations of artists including: Agam, Soto, Cruz Diez, Morellet, Yvaral, Le Parc, Sobrino…

A similar style had already appeared in works by Bauhaus masters: Moholy-Nagy, Klee, Kandinsky and Itten, as well as in creations by Malevitch, Sophie Tauber-Arp and Mondrian.

“Bauhaus” is an experimental didactic and artistic centre which was founded in Weimer in 1919 and that operated until 1933, when the Nazis took power. The adaptation of Art and Architecture to the new-born elements of the Industrial age began at the start of the 20th century. Following (aesthetic) experiments of the "Deutsche Werkbund", initiated by Muthesius in 1907, Walter Gropius establishes a new vision of teaching that is to unify artists and artisans in collective style and research projects. The main focus is the discovery of forms that facilitate the production of series’ of artwork.

Bauhaus, or “the house in which we build” designates not only a particular technique in the history of art itself, but an attempt to blur the borders drawn between various aspects of culture and society.

Its manifesto never seemed as pertinent as it does today :

"This is not about teachers and students, but about masters and apprentices; this is not about artists specialised in general or applied arts, but about creators who complete each other in order to serve a common goal" Read more...

Homage to Mercedes Sosa

Grammy Winner Fused Folk Music With Social Justice

Volver A Los 17

Volver a los diecisiete despues de vivir un siglo
es como descifrar signos sin ser sabio competente,
volver a ser de repente tan frágil como un segundo
volver a sentir profundo como un niño frente a Dios
eso es lo que siento yo en este instante fecundo.

Se va enredando, enredando
como en el muro la hiedra
y va brotando, brotando
como el musguito en la piedra
como el musguito en la piedra, ay si, si, si.

Mi paso retrocedido cuando el de usted es avance
el arca de las alianzas ha penetrado en mi nido
con todo su colorido se ha paseado por mis venas
y hasta la dura cadena con que nos ata el destino
es como un diamante fino que alumbra mi alma serena.

Se va enredando, enredando
como en el muro la hiedra
y va brotando, brotando
como el musguito en la piedra
como el musguito en la piedra, ay si, si, si.

Lo que puede el sentimiento no lo ha podido el saber
ni el más claro proceder, ni el más ancho pensamiento
todo lo cambia al momento cual mago condescendiente
nos aleja dulcemente de rencores y violencias
solo el amor con su ciencia nos vuelve tan inocentes.

Se va enredando, enredando
como en el muro la hiedra
y va brotando, brotando
como el musguito en la piedra
como el musguito en la piedra, ay si, si, si.

El amor es torbellino de pureza original
hasta el feroz animal susurra su dulce trino
detiene a los peregrinos, libera a los prisioneros,
el amor con sus esmeros al viejo lo vuelve niño
y al malo sólo el cariño lo vuelve puro y sincero.

Se va enredando, enredando
como en el muro la hiedra
y va brotando, brotando
como el musguito en la piedra
como el musguito en la piedra, ay si, si, si.

De par en par la ventana se abrió como por encanto
entró el amor con su manto como una tibia mañana
al son de su bella diana hizo brotar el jazmín
colando cual serafín al cielo le puso aretes
mis años en diecisiete los convirtió el querubín.

Rio 2016 - Olympic Games - Master Plan‏

http://www.youtube.com/watch?v=5TCoqZNesnM&feature=related

The visual identity of the Rio de Janeiro candidature consists of a logo and a slogan, which are being applied in marketing moves during the campaign.^[87] Designed by Ana Soter and selected among four finalists by a special jury, the logo was unveiled during the 2007 Brazilian Olympic Awards, held at the Municipal Theater of Rio de Janeiro, on December 17, 2007.^[87][88][89] The
Sugarloaf Mountain was chosen as the symbol, representing the natural richness of Rio de Janeiro.^[88] According to the Rio de Janeiro 2016 bid committee, the design as a whole conveys a heart shape, representing Brazilian passion and enthusiasm for sports.^[88][90] Through its mirroring effect, the symbol also forms a stylized clover.^[88] At midnight on January 1, 2009, Rio de Janeiro's Olympic slogan "Live your passion" was launched as part of the New Year's celebrations.^[87][91][92] The slogan reflects the Brazilian people's way of getting passionately involved in whatever they do.^[93] It was projected onto a Rio de Janeiro 2016-themed big wheel immediately after the ten-second countdown to the beginning of 2009.^[94] The structure, purposedly erected at the Copacabana beach to promote the candidature,^[95] is 36 m (118 ft 1 in) high, weighs 80 tonnes (180,000 lb) and has 24 gondolas with a capacity for 144 people.^[96] Approximately two million people attended the official launch of Rio de Janeiro's bid slogan.