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Grafische vormgeving ; typografie ; experimentele lay-out --- 766:655.26 --- Gebruiksgrafiek ; typografie ; grafische vormgeving ; esthetica --- Graphics industry --- Graphic arts --- graphic design --- lay-out (kunst) --- grafische vormgeving --- 766.11.038 --- Grafische industrie en ontwerp ; drager ; papier & boek ; geschiedenis ; 1950 - 2000
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1975 : le monde est inondé de rock glamour et symphonique au gros son, post hippie et psychédélique, représenté par Yes, Genesis, David Bowie, Roxy Music, Pink Floyd. La réaction à cet univers doucereux et coloré sera son exact contraire : le punk, dur, noir, brutal et un son sec, essentiel, débarrassé de toute fioriture. De l’énergie brute, agressive, instinctive, seulement guitare, basse, batterie, chant, souvent hurlé sur 3 accords approximatifs. Le punk ne va pas être qu’un courant musical, c’est un mouvement global qui envahit tous les arts. - La mode avec les vêtements déchirés, les T-Shirts graphés au feutre, le grand retour du Perfecto, le blouson de motard adulé par les rockers des fifties et banni par les babas, les crêtes d’iroquois couleur fluo, les lames de rasoir et les épingles de nourrices, les chaines, qui deviennent accessoires de vêtements, jusqu’aux insignes nazis pour choquer tous les bien-pensants, des bourgeois aux beatniks… - Le graphisme, la peinture, avec l’usage des lettres découpées comme si elles étaient anonymes, les photos en noir et blanc sans gris, les collages sans composition d’ensemble, les dessins au trait acéré… - Et surtout le punk, c’est un nouveau mode de vie : en tribu, clamant le « No Future », une vie courte, intense et violente, contre toutes les institutions, une anarchie permanente, les squats, la bière et l’héroïne… Russ Bestley et Alex Ogg, vous font redécouvrir, 35 ans après, l’essentiel du punk à travers le monde, une véritable somme qui a demandé plusieurs années d’enquêtes et de recherches. Un album d’exception.
Affiche --- Couverture de disque --- Mode
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Graphic arts --- onderzoek in de kunsten --- grafische vormgeving
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Visual Research: An Introduction to Research Methodologies in Graphic Design (second edition) is a guide to the practice of researching for graphic design projects. This book explains the key terms and theories that underlie design research; examining the importance of audience, communication theory, semiotics and semantics. It features a range of case studies that demonstrate how the use of rigorous research methods can form the basis of effective visual communication and design problem solving, eschewing end product analysis for a discussion of the way research feeds into the design process. This edition also includes twelve new international case studies, end of chapter exercises, a new chapter on Visual Grammar and a foreword by Ellen Lupton, an internationally renowned graphic designer, writer, curator and educator.
Graphic arts --- Research
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"Packed with more than 200 colour illustrations, Visual Research explores a range of research methods that can be used by graphic designers and visual communicators in the development of clear and purposeful design solutions. The book introduces key terms and theories that underlie design research; examining the importance of visual grammar and design literacy, audience, communication theory and semiotics"--
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Graphic arts --- graphic arts --- visuele communicatie --- onderzoek in de kunsten
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Music from the punk era transformed the world of music. If you could play three chords, you could make records. You didn’t even need a record label. You could start your own. The same thing happened in graphic design. All you needed were a few a sheets of Letraset and access to a photocopier, and you could make your own record covers. And lots of people did just that. Action Time Vision: Punk & Post-Punk 7" Record Sleeves [Unit 26] is a celebration of DIY graphics from the punk and post-punk eras. You might call it outsider graphic design. With a few exceptions, trained designers rarely did 7” singles covers for this notoriously shouty and aggressive music. Apart from a few covers done by Barney Bubbles and Peter Saville, most punk and post-punk covers were designed by band members, label owners or friends. Few of the sleeves showcased here are beautiful in the normal sense of the word. But they all have an urgency and an exhilarating disregard for design conventions that makes them exceptional. They are all clarion calls for independence and freedom from pop industry norms. The work in this book is culled from the record collections of designer (and Unit Editions co-founder) Tony Brook, and leading punk scholar Russ Bestley. As one of the world’s leading authorities on punk and post-punk music, Russ has contributed an insightful essay to the book. The book also features interviews with designer Malcolm Garrett, Mute founder Daniel Miller and Sniffin’ Glue editor and musician Mark Perry.
Histoire de la musique --- Design graphique --- Sound recordings --- Punk rock music --- Punk culture --- Commercial art --- Graphic arts
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