HIGHER EDUCATION IN DESIGN

THE FISH BOWL REPRESENTS THE COEXISTENCE OF PLASTICS AND LIVING beings that inhabit the oceans. Through its educational and leisure facilities we dive into the world of plastic reuse.

THE FISH BOWL IS A ROLE-PLAYING GAME IN ONE OR VARIOUS TEAMS, in which the players will have to solve, through ingenuity and logic, several enigmas that will allow them to escape from the enclosure. The story takes place in settings inspired by the ocean and by some Beatles' songs such as “Help” or “All you need is love”; with rooms that show the problems caused by plastic waste on the planet and small actions that can help to minimise them. Depending on the type of game proposed, the rooms allow their independent use or changes to the circuit. The atmosphere in them can be transformed thanks to the high ceilings and the lighting, creating different environments.

A WALKWAY COMMUNICATING WITH THE OUTSIDE ALLOWS ACCESS TO THE first level, where the main attraction, the escape room, is located. The vertical communications allow access to the upper and lower levels, where the rest of the activities take place. Those for private use such as toilets, storerooms or workrooms are grouped in two blocks, while the activities aimed at the public are carried out in open spaces that interact with the rest of the building in the same way as the escape room. Through double heights, balconies, translucent floors and glazing, players can interact with the outside and with the rest of the spaces.

THE GROUND FLOOR HOUSES THE CAFETERIA, THE TERRACE AND THE exhibition hall. In this floor, referring to the recycling of plastics and within the framework of the exhibition, a “sorting wall” is designed, also available on the upper level, which promotes the collection of plastic containers to give them a new use. For the more curious and eager to learn, there is a recycling workshop on the upper floor with facilities that allow users to experiment with the residues they bring in and create new objects.

AS IT COULD NOT BE OTHERWISE, RECYCLED PLASTIC IS PART OF the proposal, both in the use of finishing elements and furniture, showing the aesthetic and functional possibilities that this material can provide.

THIS PROJECT AIMS TO TRANSMIT THE IMPORTANCE OF REDUCING SINGLEuse plastics and their correct recycling in order to give them a longer life in a playful and educational way.

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24 Photographic Cultural Space

Jessica

Nimo Riba

THE PHOTOGRAPHIC CULTURAL SPACE IS A PLACE TO TAKE photographs and exhibit them, aimed at the general public, Instagrammers, freelancers and professional photographers. A space where they will find different sets and settings where they can take promotional photographs, photographs for sale or photographs for their social networks or their personal books.

IN ADDITION, THE CENTRE INCLUDES EXHIBITION SPACES TO GIVE visibility to the work of local photographers and artists, and training spaces for various workshops.

THE PROJECT IS CARRIED OUT IN THE DECONSECRATED FRANCISCAN chapel, a chapel built in 1704 to house the Venerable Third Order of the Franciscans, bought by the municipality of Ourense in 1999 and turned into a local hostel.

THE INTERVENTION WAS DEVELOPED ON THE PREMISE OF MAINTAINING a constant respect for the building, allowing the whole project to be reversible almost in its entirety. It creates a structure that is totally independent from the chapel, which makes it possible to preserve a global vision of the surrounding building.

THE INITIAL INTENTIONS ARE FOCUSED ON SOLVING THE NEEDS of the activity with the functionality of the space. To this end, we seek the configuration of flexible, dynamic and adaptable spaces for photographic use, in contrast to delimited or more rigid spaces for the rest of the activities.

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26 INTERPRETATION CENTRE FOR THE OCTOPUS FESTIVAL

Teresa Rodríguez Veiga

THE IDEA IS TO GIVE AN OBSOLETE, BANAL AND COLD INDUSTRIAL construction at first sight a reason to continue to exist. How to combine its existence with a real use that gives it new life and prevents its disappearance. With this premise, the idea of using it as an Interpretation Centre for the Octopus Festival (festival of International Tourist Interest that is held annually in the town of Carballiño) was born. In this way, as well as giving value to an immaterial good such as this event, it will show the set of physical goods related to it (scattered but homogeneous) at the same time that it will organise the tourist visits.

THE PURPOSE IS TO CREATE A SPACE WHERE THE ASSISTANTS CAN be informed in depth about the festival; but not only that, the future Interpretation Centre for the Octopus Festival is conceived as something more dynamic, something that, like the festival itself, includes that continuous movement of people and meeting places.

IN THIS WAY, THANKS TO A RATIONAL USE OF THE AVAILABLE SPACE and its furniture, a multi-purpose area will be created inside, in which the exhibition use will be converted into a meeting centre for the pulpeiros/as (octopus fanatics) association, a room for talks, screenings or similar events.

THE BUILDING IS NOT UNDERSTOOD AS A CLOSED AND SIMPLY exhibiting element, but as a space that interacts with its surroundings, taking part in the small oakwood located in the plot at the same time that it offers the service of cafeteria. In any case, the proposed design allows the latter to be dissociated so that it can be used at different times than the exhibition area, making it possible to organise other events such as evening concerts.

THE AIM IS TO CREATE A COMPLETE EXPERIENCE, A SMALL POPULAR festival without a fixed date, taking advantage of all that the plot has to offer, from the buildings to the trees, those peaceful millenary natural elements that have stood by its side for so many years.

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28 ODESSA

Artistic Cabinetmaking

Professional Teaching Of Plastic Arts And Design

Jaime Vázquez Carnero

THE CONSTRUCTION OF THE ODESSA TABLE IS BASED ON THE PREMISE of creating a large side table, where a multifunctional character predominates. Its name refers to the birthplace of Vasili Kandinsky, the abstract painter whose work inspired the figurative composition of the table top. Basic geometric figures, anarchically disarranged, adding dynamism and simplicity to the design.

THE LEGS INCLINED IN PILASTER, AS WELL AS THE smooth bevelled edge of the table top, give the piece lightness in spite of its size.

DESIGNED FOR ACTIVE USE, ITS SIMPLE SHAPE ALLOWS IT TO BE used as a writing table, or even as a dining table.

THE COMBINATION OF ASH AND CHERRY WOOD, WITH CONTRASTING TONES, is suitable to emphasise its modern yet timeless style.

PG DESCR

30 OLEA

Fernando García González

OLEA IS A COFFEE TABLE CONCEIVED FROM THE CULTURE OF design and built using artisan techniques.

INFLUENCED BY THE MODERN MOVEMENT, IT HAS A LIGHTNESS IN its structure and simple geometries in its forms. These contrast perfectly with traditional elements such as its joints, which are made by hand, and the marquetry, which is spread throughout the whole of the table, also reaching its edges. The crosspiece at the bottom of the table acts as a reflection of the line that crosses the table, creating a visual play that adds value to its design.

THE SYMBIOSIS BETWEEN DESIGN AND CRAFTSMANSHIP IS NOT THE only one that exists in Olea. Its materials combine in a natural way, creating a soft and harmonious contrast. Its structure is built entirely of cherry wood, while the one selected for the tabletop is ash.

OLEA IS A PIECE THAT COMBINES VERSATILITY AND DESIGN, making it a table that would fit in any space.

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32 TAEUBER

Antonio López

SOPHIE TAEUBER WAS ONE OF THE MOST IMPORTANT FIGURES OF the avant-garde artistic movements of the first half of the twentieth century. As a versatile designer, her work offers us a very strong visual language.

TAEUBER IS A SIDE TABLE WITH A BRAZILIAN CEDAR STRUCTURE. Chosen because of its colour and lightness, it accompanies the visual simplicity of its shape. The table top was made using a geometric combination of 7 different types of wood, thus taking advantage of the chromatic range it offers.

THE TABLE WAS DESIGNED INSPIRED BY SOPHIE'S GEOMETRIC compositions which, together with her expressive use of colour, allow us to experiment with wood tones, resulting in an interesting visual catalogue.

ON THE OTHER HAND, BY COMBINING THE MANUAL WORK DONE IN wood and our modern art source, we have achieved a piece of aesthetic simplicity that does not hide the technical complexity of the whole.

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34 ALBATROSS

Antonio López

STARING AT THE SEA HAS BEEN A HUMAN HABIT SINCE THE BEGINNING OF time. It could be because our origins lie in it or simply because of the relaxation that this changing and undulating surface offers us.

ALBATROSS IS A COAT RACK THAT LENDS US ITS waves to hang our clothes.

IN THE HANGERS, MADE OF MAPLE PLYWOOD, WE CAN SEE THE silhouettes of the albatrosses placed on an UNDULATING SURFACE MADE OUT OF ASH WOOD.WITH THE bending exerted on the sheets of this resistant wood, we achieve its smooth curves.

THIS FLUCTUATING BAND CAN BE USED IN COMPOSITIONS of several pieces, creating a sense of dynamism and adapting to the space in which they are placed with different lengths available.

PG DESCR

38 OVAL

Carmen Muñiz

IT IS A DESK FOR WORK AND STORAGE, WHICH CAN be placed in different rooms.

THE DESIGN OF THIS PIECE OF FURNITURE SHOWS warmth and functionality.

THE PREVALENCE OF CURVED LINES AND ROUNDED SHAPES IS linked to the rise of organic and ergonomic design.

CURVED SHAPES ARE MUCH MORE PLEASANT TO THE EYE AND TO THE TOUCH and bring delicacy and elegance, creating a cosy atmosphere.

THE CURVED PIECES ARE MADE ON A LATHE IN A SINGLE PIECE that we then divide into 4 equal pieces.

THE USE OF DIFFERENT TYPES OF WOOD, OAK AND walnut, provides a mixture of colours.

THE PIECE OF FURNITURE RISES THROUGH ITS INCLINED legs creating an open space. The power of its legs, at the same time, gives it a certain air of sophistication and timeless elegance.

PG DESCR

40 PÓLA

Fernando García González

PÓLA, BRANCH IN GALICIAN, IS A WALL COAT RACK WITH A clear inspiration in nature. It is a piece WITH A SCULPTURAL AND FUNCTIONAL CHARACTER.INFLUENCED BY THE organicist movement, its smooth curves and irregular shapes try to imitate the growth of a tree, of one of its branches. The result is a form full of dynamism and continuity given by the predominance of the curved line.

THE HANGING IS MADE FROM FIVE SHEETS OF OKOUME VENEER, WHICH are moulded with the help of wedges made from solid wood. Thanks to these pieces and the study of the curvature we were able to define its shape. Divided into two parts: the head with the shape of a leaf is an element that gives character to the design and on the other side, there is the body, where the hangers appear.

PÓLA IS A VISUAL PIECE, WITH A STRONG SCULPTURAL CHARACTER that aims to bring a piece of nature into our home.

“IN EVERY WALK WITH NATURE ONE RECEIVES FAR more than he seeks.” - John

Muir.

PG DESCR

42 PUNK

Antonio López

IN OUR PARTICULAR COCKTAIL BAR, WE INTRODUCE GEOMETRIC and angular shapes, a bit of Punk, a TOUCH OF ICONICITY, HUMOUR AND THE ART DECO TOUCH offered by its mirrors and lights.

WITH ALL THIS WE CONCEIVED PUNK, A DRINKS cabinet that doesn’t go unnoticed.

PUNK IS A DIFFERENT, REMARKABLE AND REBELLIOUS DRINKS CABINET. It is made up of two pyramid- shaped trunk bodies, one inverted with respect to the other and lacquered in white. The lower body has a space for bottles and the upper body has a space for glasses and cups.

ITS TWO UPPER DOORS CAN BE SUPPORTED ON GUIDES TO CREATE A small counter that is ideal to place our glass. The guides are made of oak and when they are not used, they are integrated in the central part, between the two bodies.

THE WHOLE UNIT RESTS ON FOUR STURDY OAK LEGS IN INVERTED pilaster, giving contrast to the white lacquer.

THE OAK SPIKES AT THE TOP GIVE THE FURNITURE ITS PUNK character. They dare you to touch them...

Pg Descr 44 Sos Mass

Professional Teaching Of Plastic Arts And Design

Cristina Castro Romero

ONE DAY A FRIEND OF MINE REFERRED TO THIS PROJECT IN A conversation as “the one with the can of sardines with Massó stuff inside” and what seemed to her, who said it without thinking, to be a rather poor way of referring to it, I found it marvellous. Because, in essence, that is what I wanted to do; to preserve certain aspects of the history of the architectural complex of Massó, located in Cangas do Morrazo. Abandoned buildings have always aroused my curiosity, making me wonder when it stopped being used and why, who are the owners or those responsible for its abandonment, the way in which it could be recovered, etc. And that did not change after visiting the Massó cannery for the first time. In this case, after doing some research on the subject, it was precisely the story that followed the cease of its use and abandonment that interested me. Specially, the story of the social struggle that I discovered there, which deserves all my respect and admiration.

THROUGH THE ILLUSTRATION, I WANTED TO SHOW THE PAST OF the building, its condition, and the fight that the neighbourhood waged against the real estate speculation that, since it fell into disuse, has threatened the future of this complex and of the town of Cangas in general. The illustrations I made mix things as we can see them nowadays with others that take as a reference information and old photographs to represent how the buildings could be now if they were not abandoned, or even if they were rehabilitated. I focused on representing elements such as roofs, doors or windows, which can be decisive in the conservation of a building and also some of the phrases that remind me of the neighbourhood protest and are still present in the complex in the form of graffiti. In addition, I wanted to represent how the life that the neighbourhood gives to the place contrasts with the ruin, including some key scenes.

WHAT I MADE WAS A KIND OF FANZINE OR EXPERIMENTAL SELFpublishing project, entirely about illustration. I mainly combined line painting with parts that I wanted to highlight through the colour, with more detail, for which I used acrylics. The order of the illustrations that I selected corresponds to the different stops that can actually be made on a circular walk around the complex. For the first printed prototypes of this project, I used cardboard, sketch Canson paper and parchment paper. The fanzine is enclosed in a kind of sleeve with a stamp printed on it, a tin can. Inside, a pile of sardines wraps the hand-sewn fanzine. In the end, as my friend rightly said, it's nothing more than a can of sardines with Massó stuff inside.

Carla Domínguez Méndez

DREAMS WAS BORN OUT OF MY PERSONAL CHALLENGE TO MAKE AN animation and at the same time the desire or need to abandon the conventional. This resulted in my final illustration project being an experimental animation.

TO MAKE IT, I USED TRADITIONAL AND DIGITAL TECHNIQUES: I used gouache, colour pencils and paper cuttings for the first sketches, storyboard and the final illustrations. On the other hand, the tests of movement, editing and final animation were made using Photoshop and Openshot.

AS IT WAS MY FIRST ANIMATION, I HAD MANY MOMENTS OF DESPERATION and, in the end, the work was about trying and failing until I achieved something satisfactory. This process is already quite experimental but additionally I added some scenes that I made with the cut-out technique, a wellknown method in the world of animation of this style.

THE STORY, ON THE OTHER HAND, IS BASED ON A DREAM I HAD THAT I had been thinking about for more than a year and this project helped me get it out of my head. Even so, I didn't want to capture my story directly, I preferred to stay in the experimental line and let the ambiguity of the narrative give rise to varied and unique interpretations.

PG DESCR

48

SATURNINO.

NINO SATURNINO IS A HYBRID BETWEEN NOVEL AND COMIC. THIS works with a reading along with text and vignettes that follow the story. Thus, you need to read both the text and the vignettes to fully understand the content, as they complement each other. It is aimed at an audience of 8 or 9 years old and upwards, but can be enjoyed by all ages. It features action, intrigue, tragedy and above all comedy. On a technical level, it was a very complicated project to carry out, as I wrote the novel in just over two and a half weeks, rewrote everything and made the storyboard and sketches in a month and then the whole comic part in another month. In total there were 136 pages, of which around 30 are comics.

SYNOPSIS:

NINO, AN INTERDIMENSIONAL TAXI DRIVER, SUFFERS AN ALTERCATION with a mysterious evil alien. Because of this, they both fall on a planet, Commodore, which is inhabited by robots. Nino discovers that the antagonist has stolen a piece of the taxi that allows him to travel between dimensions. Joining forces with 3 other citizens of Commodore, they will try to recover it and stop the mysterious and evil plans of the antagonist, but a series of problems and tragedies will make Nino's life a torture.

Pg Descr

50 REV 6, 1-8

Manuel González Meijide

REV 6, 1-8 IS A PROJECT IN WHICH THE FOUR HORSEMEN OF the Apocalypse are represented with the intention of referencing the Blessed, as well as recovering a biblical theme that has been barely treated throughout the history of art. The project also stems from a fascination with Christian symbolism, with the Book of Revelation being the one most loaded with symbolic images.

THERE WERE TWO CLEAR STAGES IN THE PROCESS, ONE FOR RESEARCH AND the other for the execution of the idea. The first stage involved a reading and analysis of the chapter and verses referred to, which would later become the title of the project. At this stage, both the colours and the attributes of each horseman were analysed, being the key narrative elements of the work. Some sketches of the horsemen were also made and later they were arranged as a whole.

THE SECOND STAGE WAS DEVOTED EXCLUSIVELY TO PAINTING, IN which the four canvases were painted at the same time so that there would not be an aesthetic disconnection between them. The technique used was oil painting because it is versatile and has a greater margin of error than others, and also because it is the one in which I could best develop the result of the idea. The final result consists of four 120x80 cm canvases in vertical format, although the work is conceived as a whole, a single work.

ALTHOUGH REV 6, 1-8 IS NOT AN ILLUSTRATION PROJECT AS such, it was a good ending for the course and a good beginning for the Bachelor’s degree in Fine Arts, as well as a reaffirmation in painting, which is what I really want to dedicate myself to.

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52 LUBLO AND THE PICKLE JAR

Pablo

Lamothe Costas

LUBLO AND THE PICKLE JAR IS A COMIC ABOUT LUBLO, A character with a triangular anatomy, who tries to open a pickle jar. In his attempt, the jar of pickles rebels and starts running away. During this chase, Lublo will live a series of adventures trying to satisfy his stomach with delicious pickles.

LUBLO WAS BORN FROM AN ILLUSTRATED ALBUM PROJECT BASED ON ABSURD humour. The strength of the character makes me decide to recover it to carry out a new comic project that is both underground and youthful, in which absurd humour is used to give rise to a nonsensical adventure, thus making an amusing criticism of the exaggerated complication of simple solutions to situations. The comic is divided into different problematic situations for the character in an attempt to get his daily snack back, which become comical due to the complicated resolutions that the character reaches.

IT IS AN AMUSING ADVENTURE THAT WE CAN ENJOY WITHOUT DELVING into the criticism of stupidity that is proposed throughout the comic. Aesthetically it also tries to be funny, using a simple design but full of different plots and textures that give life to the image. The protagonist, Lublo, tries to be a clumsy, creative and stupid character who comes up with the most extravagant ideas possible from simple problems. The plot of the comic itself is an excuse for the protagonist to have funny moments and the sketches that have been mentioned before. So, in terms of structure, we could say that it is divided into scenes that are only related to each other by the excuse of the search for pickles.

PG DESCR

54 IN SEARCH OF MY PEOPLE

Elena Andrés Rodríguez

MAE WAKES UP IN THE CITY OF ROBOTS, BUT SHE DOESN'T REMEMBER how she got there. She is found by Aroth, an arrogant scandalmonger, who leads her to his companion Vreti, a distrustful robot who hates to get out of the routine of her monotonous life. Mae will have to win the trust of this peculiar pair if she wants them to help her. Together they will live numerous adventures where they will meet more and more bizarre characters. Will they manage to get out of the city and find Mae's mother without being discovered by the guards and Mum Roxanne? Wait a minute... weren't humans extinct?

THIS IS WHAT IN SEARCH OF MY PEOPLE, THE FIRST BOOK OF THE series of the same name, is about. For this project, the story of the first book and the first pages of this one were created in the course of three months, combining the traditional technique of India ink for the line and the digital technique in Photoshop for the colour.

PG DESCR

56 ICARMILLA. THE COUNTESS OF KARNSTEIN

Itziar Couce Rodríguez

CARMILLA. THE COUNTESS OF KARNSTEIN IS A FREE AND illustrated adaptation of the classic horror story Carmilla written by the author Joseph Sheridan Lefanu in 1872.

CARMILLA IS KNOWN IN THE LITERARY WORLD FOR BEING THE FIRST vampire story to be written in history. It was both a controversial and innovative story, since apart from being a story with all the typical characteristics of the Gothic novel, it is also a story about two girls who fall in love in the midst of a series of strange events.

THE FINAL FORMAT CHOSEN FOR THE PROJECT WAS THAT OF AN illustrated album, resulting in a 20x30 cm book (open) made up of 14 pages plus the covers.

FOR THE ILLUSTRATIONS, A REALISTIC AND FIGURATIVE STYLE WAS sought, inspired by the work of illustrators such as Santiago Caruso and Ana Juan, resulting in dark, sinister compositions full of details. Regarding the technique, all the illustrations were made in a traditional way with black India ink on a special paper for engraving 100% cotton, with a later process of post- production and digital retouching to correct lights and shadows, add text and some details and do all the graphic design and layout.

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58 The Daughters Of The Night

Alba Carreira Gómez

THIS PROJECT CONSISTS IN THE CREATION OF AN ILLUSTRATED BOOK that simulates an old log book, which tells the story of a Galician man, whose name is unknown (John Doe), who decides to go out and travel around Galicia in search of the famous meigas (witches), and thus collect, in the form of notes and sketches, all the data he gathers.

WHEN I DECIDED TO CREATE THIS PROJECT, I CHOSE TO SHOW A PART of Galicia that has fascinated me since I was a child and that has always been very present, either in stories that we were told at school, in stories that my parents repeated when I was a child or subtly integrated into our daily lives in the form of figurines, brews and even chestnuts.

FOR THIS REASON, I DECIDED TO CHOOSE THE MOST EMBLEMATIC creature of our folklore, the Galician meiga, because it is well known that Galicia was, is and will be a land full of witch magic.

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60 [FONT(S)]

Andrea Gil Da Concepción

Higher Education In Design

IN THE WORLD OF GRAPHIC DESIGN, HAVING A CULTURAL AND informational background makes your designs acquire both meaning and aesthetics. The graphic designer has to be in constant training, either with online courses about tools and software improvements or with books. In spite of being an obligatory action for the current designer, most of the information related to typography is not adapted to new technologies. Technical information of fonts in simple and continuous texts or, if there is any visualisation of technical data, is from certain fonts.

FOR THIS REASON, KNOWLEDGE OF TRENDS AND THE USE OF applications is essential to avoid becoming obsolete in the market. This is how the [fuente(s)] project came about, which is the creation of an interface design for an application involving the organisation, identification and knowledge of fonts that contains information that is useful to the current designer in their day-to-day work. This is complemented with a visual proposal for brand identity, prototyping and advertising in social media.

PG DESCR

62 LAND

Mikel Rúa

Rodríguez

TERRA IS A PROJECT FOR A SERIES OF LIMITED EDITION signature wines. It aims to show the quality and exclusivity of the experimental wines produced by José Luis Mateo at the Quinta da Muradella winery.

THE OBJECTIVE WAS TO CREATE A DESIGN IN HARMONY WITH THE traditional work and the environment in which it is carried out. Through the use of natural resources, handmade paper was made, mixed with soil from the vineyards' own plot.

THE RESULT OF THE PROJECT IS A SYNTHESIS BETWEEN the product and the environment.

THE PROJECT INCLUDES A CUSTOM-MADE TYPOGRAPHY, PHOTOGRAPHS of the product and the winery environment, a video presentation and the redesign of two series of wine labels.

PG DESCR

64 KEYFRAME

Ada González

KEYFRAME IS A SPANISH CINEMA BOARD GAME THAT SEEKS TO highlight and draw attention to the place and importance of the audiovisual sector and the protection and movement that it deserves and needs at home and abroad.

COMPOSED OF FIVE PACKS OF FIFTY CARDS EACH, TWO BOARDS, TWO dice, and different bonuses, it seeks to immerse the player in the seventh art by guiding him or her through a journey across the history of cinema, the most outstanding productions, historical events, etc. It also intends to give him or her the chance to discover invisible trades and small directors inside the sector in a relaxed and playful way, in order to extend and to secure the knowledge of the player inside the Spanish audiovisual sector as well as to encourage its consumption.

THE PROJECT ALSO ATTEMPTS TO PROVIDE A CERTAIN AESTHETIC AND distinctive value among the other games that can be found on the market, with a very different style and packaging to the conventional one, and with the use of colour and constant references to cinema and its formats.

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66 Neura

Victoria Feijoo Quintas

NEURA IS A PROJECT OF AN EXPERIMENTAL POETRY BOOK intended to be elaborated through graphic language. It is developed through experimental typography, photography and various graphic elements.

LITERATURE CAN BE PART OF THE GENERATING CONCEPT in the development of graphic design projects that transcend the editorial sphere.

AND IN THE SAME WAY, IT PLACES DESIGN AT THE SERVICE OF poetics and highlights the meaning of words. Neura aspires to be a book of visual poetry in Galician that opens up a new field in Galician poetry.

THE MAIN IDEA IS TO CREATE AN ARTIST’S BOOK THAT INVOLVES ITS public. A cocktail of visual stimuli to activate the senses and thus emphasise the sensations produced by the poems.

AS AN INTERMEDIATE GENRE BETWEEN GRAPHIC ARTS AND LITERATURE, as well as telling stories, it incorporates imagination into the process of perception, inviting the public to travel a little further than the “obvious”, to look back. A key factor in the interpretation of a visual poem is the expressive and representative capacity of the image itself. It is not the eyes that see, but the brain that interprets.

Articles

70 DOODLING MINDS

Robin Hannon

THIS PROJECT IS BASED ON THE CREATION OF A SET OF WORKBOOKS inspired by those of the Spanish learning support brand Rubio. These workbooks follow the theme of visual styles of graphic design, educating, through different activities, about design and all the areas it encompasses, such as typography, photography, illustrations...

FOR THIS PROJECT TWO WORKBOOKS WERE PRODUCED, EACH OF THEM following a different visual style: a workbook based on punk style design and another in Bauhaus style, with the idea that a collection covering more styles would be developed later.

THE ACTIVITIES THAT MAKE UP THE WORKBOOKS ARE FOCUSED on the main aesthetic. For example, there are activities on how to make a punk style typography, on how to make a correct composition of elements in a Bauhaus poster...

THE CONCEPT REVOLVES AROUND RUBIO'S EXISTING PRODUCTS. With this project we seek to combine the values and characteristics of the publishing house's publications with graphic design, and to expand the section of initiation to design (lettering, typography and illustration) that has recently been developed.

THE SET OF WORKBOOKS MADE UP THE NEW COLLECTION OF THE PUBLISHING house, which was called "Workbooks for Doodling Minds".

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72 MALA TINTA, ART AND DESIGN FLEA MARKET

Mala Tinta Collective

MALA TINTA WAS BORN BETWEEN CONVERSATIONS AND COFFEES OF A group of classmates of 2nd year of Graphic Design (Sara G, Génesis, Sara T, Uxía, Marta, Antía, Cristina and David) who, tired of the artistic void that existed in the city, decided to get to work to start the change where it is closest to us, in our school.

WITH A DESIRE TO BRING ART CLOSER TO THE PEOPLE OF THE city and to get involved first-hand in local cultural movements, we created a market where the rest of our classmates had the opportunity to show their work or sell their products related to art, design or craftsmanship and thus make themselves known.

THIS FLEA MARKET TOOK PLACE ON MAY 21 AND MAY 22 OF THE YEAR 2022 in Ourense, at the El Pueblo Cultural Café and was very well received for only being its 1st edition.

IN ADDITION, AS A RESULT OF THE DESIGN WORK FOR THE IDENTITY of the flea market, Mala Tinta has created a brand with its own products (tote bags, T-shirts, stickers...).

FROM THE ORGANISATION WE WOULD LIKE TO THANK ALL THE STUDENTS for their participation, El Pueblo Cultural Café for the facilities they offered to work with them and especially the teachers Cosme Fernández and Yellice Rodríguez for their great help throughout the whole process.

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74 ABOUT THE TABLE AND ARCHITECTURE

Undoredo

IS THE TABLE ARCHITECTURE? NO, BUT IN OTHER WAYS IT MIGHT BE. It is not architecture, because even if it is understood as a place, it is not a closed and covered enclosure or domain, that seems clear to us. But perhaps it is architecture if we think of it as an object built according to the laws of statics and also of practical use-function, therefore, susceptible of being thought of as an architectural object that will also have to follow the classical guidelines of firmitas (firmness), utilitas (utility) and venustas (beauty)... For us, however, tables have always been much more admired for anthropological and social reasons than for strictly constructive-architectural ones, because this space in which so many habitual and everyday functions take place is nothing more than a piece of raised ground, a simple but revolutionary artificiality that allows us to be ourselves in front of others and our surroundings. A place, the reflected land, restructured and elevated to the waist that is accompanied by the seat to produce culture and society. A culture of discussion, of the meeting of speech and of social relations between several people, of games, of food and of work. The artificial place where verbal armistices are debated and agreed under certain measures of control that avoid coming to blows... what would happen in certain family or work meetings if the distance marked by the edges of the perimeter of this invention did not exist?

SEEN LIKE THIS, THE TABLE IS A REPRESENTATION, A SMALL THEATRE where the actors only appear from the waist up, hiding our shortcomings as an upright animal to represent what we are, or perhaps what we are not, as a whole body in front of others. As the table is a stage and almost always wide -a piece of furniture for several people- it is also clumsier, less light and more architectural in terms of mobility than its cousin the chair. We cannot take the table for a ride in the car, it does not resist moving as much as the seats, and often remains clinging to its spatial domain when there are urgent changes of residence or premises.

BUT WE ALSO LIKE THE TABLES FOR WHAT THEY KEEP INSIDE, THAT IS, under the tablecloth, where the animal's legs are covered, that dreamy and hidden world where children play away from adult conversations. Hidden games also for adults, complicit friction and sexuality that cannot be shown, the covered space for traps and the passing of information that is not wanted or should not be made visible.

TODAY, THE TABLE, THAT SURFACE ON WHICH WE WORK OR DISCUSS, is no longer just physical, but like so many things has become desk for the computer or for the small smartphone screen where we meet our friends or interlocutors, present on a table with other edges or vertices much more distant than those of the traditional piece of furniture that was the table with legs... Even so, we continue to be amazed by the ability to find ourselves and others in the action of sharing and debating that generates this nonarchitecture that is this piece of furniture, the table.

PG DESCR

76 THE POLYCHROMY OF THE PÓRTICO DO PARAÍSO, CATHEDRAL OF OURENSE

Vania López Arias Bachelor of Fine Arts, specialising in restoration. Director of the San Martín Conservation and Restoration Centre.

REGARDING THE THE PÓRTICO DO PARAÍSO, WE CAN TALK, ON THE ONE hand, of plain colours made in oil on the , clothing and backgrounds and, on the other hand, of the application of gold and silver in different reliefs, ornaments and carvings in order to highlight these elements.

THE AREAS OF COLOUR ARE SIMPLY COMPOSED OF A SINGLE LAYER, THAT is to say, there is no device that polishes or smooths the rough surface of the stone that acts as a support. On the other hand, the areas finished in gold and silver have a paint underneath that will act as a bed so that the metal sheets don’t break when they are applied. This layer will be a tone that was also used as a base on some columns and in the carnations of the capitals of the left arcade.

THE AREAS OF GOLD CAN BE EASILY DIFFERENTIATED BY THEIR brightness and luminosity: the vegetable ornaments that crown the central arcade, mouldings, brooches of the tunics, borders of the vestments... Thus, it won't be so easy to distinguish the areas finished in silver, as their preservation was not so good and most of them oxidised, acquiring a brownish colour with a certain shine. In these areas we can see some light brush-strokes, the most striking ones in the organistrum, these are used to hide the joints between the different sheets, which were evened with oil of a colour similar to that of metal in order to not show areas of the support.

This treatment is repeated throughout the whole set.

SOME AREAS WHERE WE CAN FIND THESE APPLICATIONS ARE: SOME instruments of the elders, in the tympanum; both in the ribs of the fretwork and in the niche that houses Saint Martin, the central capital of the temptations, the halos of the prophets and evangelists, as well as in some elements that form part of its iconography.

IT IS POSSIBLY MADE BY DIFFERENT HANDS, AS DIFFERENCES can be seen between the different arcades and groups of figures that make up the stonework.

TECHNICALLY, IT IS NOT A REFINED OR METICULOUS PRACTICE, AS WE can see that paints that were too liquid were used, which caused large drips even in visible areas: examples of this are the groups of angels, where they tear off the arches, in the souls and even in the figures and nearest capitals. The carnations of many of the figures lack expressiveness, with a few rough brush-strokes creating the different features.

THE CLOTHING IS MADE WITH PLAIN COLOURS AND IN SOME cases differentiating the lights and shadows. The smoother areas that act as a background are solved with a kind of marbling, and in some areas the veins are better painted than in others.

THE GOLDEN AREAS STAND OUT. THEY WERE FINISHED OFF IN A rather careless manner, as the joints between the sheets can be seen, in places like small squares, which causes certain interruptions when reading the volumes.

AS A PROTECTIVE LAYER, ONLY A KIND OF YELLOW LACQUER WAS found on the golden ones and a kind of green varnish on top of the green clothes, which would have been thrown away at some point to refresh those areas. Those layers darkened and made the original pictorial layer opaque.

Fernando García González

I HAVE ALWAYS BEEN INVOLVED IN AUDIOVISUALS. MY WORKING LIFE, until I started at the Antonio Faílde School, was spent with a camera in my hand. One of the most frequent commissions we had in the production company was to record the puppet shows performed by Viravolta Títeres, a Galician theatre company with more than 40 years of experience. So much time together brought me closer to the puppets in a more personal way and also to the puppeteers. What attracted me to this profession is the ability of these companies to make their own puppets, sets and texts, a very artisanal work, which is closely related to cabinetmaking.

PUPPET THEATRE IS A UNIVERSAL ART, AND TRYING TO FIND ITS ORIGIN is an impossible task. From the first civilizations, from India to Egypt, and from Greece to Rome, passing through Native American cultures, puppets and animated dolls are present in religious rites. In Galicia, the expression of popular culture that connects us with other European puppet traditions comes from the hand of Barriga Verde (green belly), puppet with which the Silvent family moved around the fairs and festivals of the last century.

FOR MANY YEARS, BARRIGA VERDE’S BARRACA (FAIR STALL) WAS THE main attraction of numerous fairs and romerías (religious festivity) throughout Galicia. These ephemeral spaces functioned as a centre of exchange and relationship, being a gateway to the world for the rural population. In them, Silvent and Barriga Verde performed their show, full of humour and entertainment, and also functioned as a critique and outlet against the established powers. The puppet theatre has never been tied to a specific space, its nature is linked to itinerancy. That is why it is important to create a versatile and comfortable support, which allows you to travel and also to sit.

THIS IS HOW TUTILIMUNDI (FROM THE ITALIAN TUTTI LI MONDO –all the worlds) was born, a travelling show of Italian origin that consisted of a device where small figures were housed, and by means of an optical effect these figures seemed to move. This piece proposes something similar to these old travelling shows, to create a space where an artist can represent tutti li mondo, any puppet show that he has in his repertoire and that has the tools to bring all kinds of worlds to life.

TUTILIMUNDI COMES FROM A “BOX”, WHICH ONCE ASSEMBLED BECOMES a miniature theatre, with its backdrop and stage, with spaces and tools so that the play to be performed has its scenery, the audience has a stage to focus their attention, and the artist has that physical space to locate his story, in short, a little theatre that can be hung from the ceiling. A theatre with all its virtues and functions, in scale. The design is different from the traditional “puppetry” aesthetics, baroque and loaded, showing a piece that breathes simplicity and woodwork. Simple geometries such as the circle and the rectangle are the protagonists and the wood itself is in charge of adding personality to the furniture. As it is a portable piece, its volume is designed to be ergonomic when moving around with it. A leather strap located on the side of the furniture makes it easy to carry, giving the option of carrying it crossed or on a shoulder strap. The lid has two perforations that give access to one side of the box, which houses some "wormholes" so that we can hang the strap. This way it will be the box that supports the weight.

THE MOVEMENT AND ASSEMBLY OF THE LITTLE THEATRE DEPEND solely on a pair of dovetailed guides, made of wood. When removing the U-shaped lid, a simple twist allow us to set up the theatre. This way we eliminate hinges and metallic elements from our design.

THE WALNUT AND ASH CHOSEN FOR ITS CONSTRUCTION WERE woods with a lot of personality, working them and placing them inside the furniture was one of the most important parts of the construction of Tutilimundi and a process that I enjoyed very much.

THE CREATION OF TUTILIMUNDI AIMS TO RECAPTURE THE SPIRIT OF THE puppeteers, giving value to a millenary artistic tradition, which survived censorship and precariousness, and which also brought news from one side to the other, when the way to do it was to walk the roads that separated them.

NOWADAYS, PUPPET THEATRE IS AN EXERCISE OF RESISTANCE, AN exercise of resistance like the one that is carried out at school, that puts in value the craftsmanship, the design and a profession, betting on a way of teaching that is far from massification or immediate consumption, but that is still capable of maintaining its validity. And that has to be a guarantee for their permanence.

Pg Descr

84 HISTORY OF A CHAIR

Laura Martínez López

ONE DAY I FOUND A CHAIR.

IT WAS AN OLD WOODEN CHAIR THAT WAS THROWN INTO A CONTAINER next to a house that was being evicted. Buried next to it were the demolished bodies of three other identical chairs, which would probably meet their end there in the rubble of the house they had always belonged to. Of the set of four chairs, that one was mutilated at the height of the back so that only the seat remained. Because of its appearance, I thought that it could be a model mass-produced in the 1950s that might have belonged to the dining room of a middle-class family at a time when the layout of the houses revolved around a large central table surrounded by four or six chairs.

WITH THE FAMILY AS THE NUCLEUS OF LIFE IN SOCIETY, AT MEALTIMES, each member of the family was assigned a chair. The relevant aspect was not the chair itself, but the position it occupied around the table. Often, the chair occupied by the father was in a privileged position to watch television, while the mother sat in the place closest to the kitchen. On the other hand, the children, who had a similar family status, indistinctly occupied any of the other chairs.

IN THE SOCIAL PATTERN OF THIS PARTICULAR PERIOD, CHAIRS geographically marked the correct functioning of a family; even when one of its members was not seated, that was still his or her place. Thus, o sitio do pai (the father’s seat) represented him and, in a way, replaced him. Whoever usurped that seat took over his rank and privileges. Sitting in someone's chair or wearing their clothes was the closest thing to feeling like them. Our possessions represent us. We consciously or unconsciously, but always deliberately, project certain traces of our identity onto objects.

IN ITS VARIOUS MANIFESTATIONS THROUGHOUT HISTORY, THE EVOLUTION of the chair has been extensively documented by various disciplines such as furniture history, industrial and interior design and ergonomics. Human beings have the capacity not only to handle but also to create material objects with which they maintain emotional relationships. The communication between subject and object is an exchange of meanings with a strong social component.

CHAIRS, BECAUSE OF THEIR FUNCTION, PROVED TO BE SPECIALLY vulnerable to this process of signification. Designed to mimic specific surroundings, they absorb the trends and use the technology, production processes and materials of their time. They adapt to the economic status and reproduce like a mould the psychophysiological characteristics of their buyer. They represent different social situations according to their style, number or the way they are grouped or their orientation. The semantic configuration of four chairs facing each other on the terrace of a cafeteria differs greatly from their position in a waiting room or a classroom.

OUR RELATIONSHIP WITH OBJECTS REPRESENTS A CHOICE OF IDENTITY and has been, and continues to be in recent times, the subject of study by design and communication theorists such as Klaus Krippendorf, Donald Norman or the so-called proxemic science that studies the physical space between people. Their theories in the field of emotional design shed some light on what objects really mean to us and can be applied to an anthropological and social study of the chair.