Garrido Barberá, 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...
¿Qué es un fanzine? Hace poco escuchaba una de sus definiciones más acertadas: un estado espiritual.
Quindós González, Tania; González-Miranda, Elena
[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
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...
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...
[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.
Sanchis Gandía, Álvaro; Rodríguez Calatayud, Nuria; Linares Pellicer, Jordi
[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.
[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
Pérez Rodrigo, David
[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.
El proyecto 36 Days of Type nace en un primer momento con el objetivo de convertir un reto personal en un reto colectivo.