A timeline and history of where graphic design images come from and how they are incorporated again and again into new work.

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fonte: School of Visual Arts MFA Design

Aurelindo Jaime Ceia pertence a uma geração única de “designers” portugueses. Ao longo de mais de um quarto de século, acompanhou as profundas mudanças que ocorreram na disciplina, no seu ensino e na sociedade – desde um tempo em que o design era um termo estrangeiro pronunciado e praticado por poucos, até hoje, em que o design é, apesar de continuar a ser escrito em itálico ou entre aspas, uma profissão de muitos e uma palavra ouvida por todos.
Tendo sido aluno do primeiro curso universitário em Design de Comunicação do país, criado em 1975 na Escola de Belas-Artes de Lisboa (hoje Faculdade de Belas-Artes da Universidade de Lisboa ou FBAUL), tem vindo a leccionar aqui desde 1981. A exposição “Uma poética do visível, o design gráfico de Aurelindo Jaime Ceia” marcou, entre Outubro e Dezembro de 2007 (juntamente com o seu excelente catálogo), a celebração da sua carreira e dos seus dois universos. O universo de Ceia, o “designer”, exposto no seu trabalho para clientes institucionais, editoriais e culturais desde 1978, e o universo de Ceia, o professor, expresso nas referências – o cinema, o literatura, a poesia, a filosofia – que vem partilhando com os seus alunos ao longo dos anos.
Ceia, que se considera “mais um professor que outra coisa”, assume a finalidade pedagógica desta exposição, dedicando-a a todos os que são e foram seus alunos. Mas o gesto de (se) expor vai mais longe: “Expor o meu trabalho é também abdicar do que é um processo de poder: um professor, numa aula, encontra-se numa situação de expressão de poder perante os alunos, e essa relação é a base do processo formativo. Quando (me) exponho, subverto essa relação de poder – todos os professores que têm obra feita deveriam ter condições para serem sujeitos a essa prova.” [Ler mais...]

fonte: simples - FREDERICO DUARTE · DESIGN/ESCRITA/WRITING

gamit0
8 de Fevereiro de 2008

During the 1920s, Beck worked as an engineering draughtsman at the London Underground Signals Office. In 1931, he proposed a radical new design to illustrate the rapidly expanding Underground system. The Underground Group’s draughtsman, Fred Stingemore, had been finding it increasingly difficult to squeeze new lines and stations into his map. Beck could see that the network had become too big to represent geographically, and worked on a solution to the problem in his own time.

‘Looking at an old map of the Underground railways’, he said, ‘it occurred to me that it might be possible to tidy it up by straightening the lines, experimenting with diagonals and evening out the distance between stations’.

Beck’s solution was to map the network schematically, using a system based on electrical circuit diagrams. The Underground’s publicity department initially rejected his proposal, thinking it too radical. However, after he made a series of modifications, the design was approved. A trial pocket version was published in 1933, just before the Underground became part of the London Passenger Transport Board. [Ler mais...]

fonte: Exploring 20th century London Project

A sessão foi presidida por Manuel da Costa Cabral, director do Serviço de Belas-Artes da Fundação Calouste Gulbenkian, e um dos fundadores do IADE.

Owen Jones and the V&A Collections
Sonia Ashmore
Research Fellow, V&A

‘Grand Polychromatist-plenipotentiary’ and perpetrator of bad taste, (1) and, ‘the most learned man, perhaps in all Europe, in Eastern decoration’; (2) Owen Jones gained both notoriety and fame in his day. Yet the sparsity of serious historical attention given to Jones is surprising, considering his role in the history of the decorative arts, design education, and the development of the South Kensington Museum, the continuing success of some of his designs (versions of his wallpaper designs marketed in the 20th century by Laura Ashley), and continuing sales of The Grammar of Ornament. (3) The display and Study Day planned at the V&A by the Collections Department of Word and Image to commemorate the bicentenary of Jones’s birth in 2009 will hopefully start to redress this absence. (4)

For a researcher, it is a delight, but perhaps not a surprise, to discover close links between objects in the V&A collections and the work of a figure so embedded in the foundation and philosophy of the Museum. My recent research has focused on the Museum’s nineteenth century Indian textile collections and this article will focus on apparently unobserved connections between these collections, Jones’s Grammar of Ornament, and his own designs. [Ler mais...]

fonte: V&A Online Journal

Visual communication is the communication of ideas through the visual display of information. Primarily associated with two dimensional images, it includes: art, signs, photography, typography, drawing fundamentals, colour and electronic resources. Recent research in the field has focused on web design and graphically oriented usability. It is part of what a graphic designer does to communicate visually with the audience.

The primary tool by which man has visualised ideas is through the usage of writing and, by extension, type: Writing/type is the visual manifestation of the spoken word. And words are what we communicate with. Thus it is no overstatement when we say that type is the essence of visual communication and by extension of visual communication design. Type, where it is present, is simply the single most important element that you put on a page, since it inherently carries the essence of communication and communication is what our subject of study as graphic/multimedia designers is all about. Thus, the history of visual communication, i.e. the history of the visualisation of the spoken word, will largely follow the development of typographic systems, with a special focus on the Latin typographic system, given that this is the one that we are operating under. Although the primary focus will be on typographic elements and methodologies, the course will, of course, also cover pictorial aspects of visual communication, such as illustration, illumination, photography, shapes, colour etc as and where they pertain to the essence of the subject.

I shall loosely be following P.B. Megg’s book “The History of Graphic Design”, which is the seminal work of this area. Given that the internet presents me with this possibility I shall be providing far more visual examples to the material covered than the book itself provides. Thus the following pages are full of clickable thumbnails which will lead you to large sized images clarifiying the subjects at hand. The in-class presentations which give plenty of additional images and information – especially where the contextualisation of subject matter is concerned, are all to be found at the “downloads” link. Additionally there will soon be a downloadable walkable 3D VRML environment that covers highlights of the course for quick recapture and also, hopefully, for fun.

I am very proud of my heritage as a graphic designer. I know that I come from a long line of remarkable individuals from the scribes of ancient Egypt and Mesopotamia to the medieval book makers, from the likes of Aldus Manutius to the constructivist El Lisitzky. They are my friends and colleagues. I look to them for instruction, for guidance, for inspiration. I know that whatever we design today rests upon their shoulders, their genius, their unfailing good judgement and taste. I look at contemporary design and see traces of gothic diminuendo or Renaisance page layout. I hope that learning the history of their craft will inspire the same pride and love in my students… [Ler mais...]

fonte: citrinitas.com/history_of_viscom

maledictu
February 12, 2008

maledictu
February 12, 2008

maledictu
February 12, 2008