Hasil untuk "Drawing. Design. Illustration"

Xinhao Jia

This paper explores the relevance of the use of dragon elements in illustration design and Memphis style visual design. Through the study of the symbolic meaning of dragon elements in different cultures and the origin and characteristics of Memphis style, combined with the actual case study of illustration design, this paper discusses the correlation and interaction between dragon elements and Memphis style visual design. Research has found that the clever incorporation of dragons in illustration designs, combined with Memphis-style geometry and bright colors, can create creative, unique and appealing visuals. These findings provide new creative ideas and inspiration for illustration design.

Melani Lleonart García

<span id="docs-internal-guid-a2bb7164-7fff-f94a-ec65-b31dc844c30a"><span>La producción de exposiciones temporales o itinerantes consume una gran cantidad de recursos materiales, la mayoría de difícil o imposible reciclado. En la metodología de trabajo de este sector, resulta clave incorporar la sostenibilidad y los conceptos provenientes del diseño sostenible y la economía circular para analizar y prever el impacto de los materiales en todas las fases del proceso de conceptualización y diseño. La reducción y reutilización de soportes, así como la sustitución de los clásicos materiales plásticos por otros de producción ecológica, reutilizables y reciclables, como la madera, el cartón y el papel de procedencia sostenible, son excelentes alternativas a los soportes habituales. La innovación en mejorar los materiales plásticos para ofrecer alternativas de menor impacto y las aplicaciones tecnológicas también ofrecen alternativas para limitar el uso de soportes de comunicación efímeros.</span></span>

Anita Wincencjusz-Patyna

The paper gives an overview of children’s book design and illustration in Poland around the year 1968. Considering the number, variety and quality of books addressed to young readers of this time, one can judge how important this sector of the reading audience was for the policymakers in the times of Polish People’s Republic (1952-1989). The graduates from academies of fine arts (predominantly from Warsaw) were responsible for illustrations and design of the released titles. 1968 seems to be the peak year of the internationally recognized Polish School of Illustration. More than 400 artists were active in the field of book illustration at that time. Among the published books there were many avant-garde and original designs. However, this tendency was already present in Polish graphic design in the 1950s, with a sort of a turning point in 1956. The year 1968 was very important in Polish history and brought some political and social changes, although these were not reflected that much in fine and applied arts. The paper discusses artistic quality of Polish illustration for children published around the year 1968. The short analyses of the relevance of graphic layout and illustrations to the verbal contents of the selected books comprises the main part of the paper.

Estudio de diseño Masquespacio

Silvia Molinero Domingo

<p>Entrevista a Borja Martínez</p><p>Lo Siento Studio</p>

Beehive Design Collective

G. Vega, A. Haddi, A. Imad

Chris Baldry, Anne Connolly

Draughtsmen could until recently legitimately be seen as a ‘white‐collar craft’ group. This article examines the degree to which Computer‐Aided Design is fragmenting the cohesiveness of the drawing office, and thus threatening to undermine the craft control which has been the basis of the strength of the union, AUEW/TASS.

雨佳 曹

Daron Andrus

Ameet Hindocha

This article examines the development and use of vocabularies of shapes constructed using geometric principles as a basis for ornamental pattern design. Through a combination of digital fabrication techniques and printmaking, I have developed a process for freely exploring geometric ornamentation based on compatible vocabularies of shapes. The process highlights the correlation between the use of these vocabularies and language as a medium of expression. It can also provide an insight into how the universality of the visual expression of mathematical concepts helps us perceive the nature of the world around us.

O. Huerta, A. Kus, E. Unver et al.

Bruce Truax

B. L. Davies, A. J. Robotham, A. Yarwood