DESIGN NEWS
No. 1
2013 Spring
@ EASD Castell贸
THIS ISSUE CONTAINS:
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Rico Lins
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Dsignes
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Reza Abedini
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Alex Trochut
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Fran垄ois Caspar
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20th Chaumont
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Skolos & Wedell
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Leonardo Sonnoli
/Jurga Maskeliunaite/2 course VCD/ Graphic Design Projects II/2B/EASD +37062767464/
/Design News @ EASD Casttelló/
Rico Lins, graphic design and cross-cultural /Carlo Branzaglia/
One of many possible descriptions of the design process could be this: “observing things which other people do not see and bringing them to light”, i.e. giving shape to “unexpressed” feelings, unrecognisable behaviours, vague sensibilities in the air.
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His graphic work is informed by a copious and exuberant variet y of signifiers and signified meanings, blending european influences with brazilian ones in an amalgamation of worlds brought together in a single visual collage.
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There is no single, clear-cut method to attain this. It is an attribute of designers, being the link between clients and users. That is why designers must put themselves in the consumers’ place to understand, share and, eventually, express their aims.
a. Poster for David Mamet’s play Oleanna, 1991. b. Posters for the Brésil à l’affiche/ Brasil em Cartaz exhibition, a retrospective of Brazilian posters organised in Chaumont, France, 2005/2006.
Rico Lins is one of Brazil’s most influential graphic designers. He has participated in and curated diverse exhibitions, including the one recently organised at the Sao Paulo Image and Sound Museum to present the magnificent posters he developed for the Sao Paulo Jazz Symphony Orchestra.
/Design News @ EASD Casttello/
c. Dsignes, free typography for Signes designed by Andreu Balius, 2009.
Dsignes, free typography for Signes designed by Andreu Balius /Editorial team/
c. Typographer Andreu Balius has created Dsignes, a free access font specifically designed for architects and designers, for Barcelona based company Signes, a business dedicated to the production and establishment of corporate identity.
Specially designed for sign projects, Dsignes offers three different weights –light, regular and bold– and can be freely obtained on latipodsignes@signes.es.v This project has been awarded the 2010 Ed Awards Prize (European Design Awards), and has been selected for the Shanghai 2010 exhibit ‘Desigñ’. This initiative is part of the promotion and diffusion activities of the Fundación Signes cand includes Designpedia and the Signes prizes.
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/Editorial team/
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What a good start to 2005 for Reza Abedini. he took a gold award in Hong Kong’s poster triennale, one of many poster events currently enlivening the graphic design scene in the far east (from tokyo to Pekin via Taipei), open to entries from visual cultures beyond the border (or, better said, borders). and entries come not only from the west, but also from the middle east - a territory that (supposedly global) ‘chat’ culture seems to show little inclination to get to know or understand more about.
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d. Victim, collective exhibition, 2005. e. Siah Mashq, poster exhibition of Reza Abedini, 2004.
Reza Abedini
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/Design News @ EASD Casttelló/
Alex Trochut, between illustration and typography /Gloria Inglis/ The use of a contemporary Barcelona based designer Alex and well worked out lettering Trochut works under the premise is characteristic of his work. ‘More is more’; clearly distancIllustrations become typographies ing himself from minimalism; his and vice versa, in order to create conscious ‘horror vacui’ coexists compositions that transmit with self control and effectiveness great communicative energy to produce graphic material that and a capacity to He is also no doubt influenced is exuberant in invoke. The use by his grandfather, Joan Trochut, detail. Initially of a contemporary creator of ‘El Tipo Super Veloz’ in member of the and well worked 1942, a mobile modular system of Toormix and out lettering is interchangeable pieces that cre- Vasava Studios, characteristic of ates different typographic fonts. Trochut founded his work. Illustrations become his own workshop in Barcelona typographies and vice versa, in in 2007, where he is involved in order to create compositions that projects for advertising agencies transmit great communicative and international clients. Troenergy and a capacity to invoke. chut exposes an academic graphic design education obtained at the Escuela Superior de Diseño Elivasa to add to his more natural form of expression through drawing.
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g. Type tratament for a limited edition T-shirt. HyperDunk, Nike Basketball, 2008. h. Graphic variations and logo treatment given to Nixon, 2009.
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/Design News @ EASD Casttello/
Franรงois Caspar /Carlo Branzaglia/ Franรงois Caspar is driven by a creative exuberance. A designer with a vibrant eye, he uses a combination of practice, experience, functionality and communication to confront his work.
For Caspar, a poster is a tool for linguistic research that has many levels of sophistication. Widely known for his defence of professional culture, his work stands out for its highquality, its focus on the international scene, its pragmatism and its visual culture.
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/Alfredo Aracil/
The International Poster and Graphic Arts Festival of Chaumont currently represents a model that applies an interdisciplinary approach and historical-critical rigour to study the role of graphic design in contemporary creative fields. Previous editions have boasted successful exhibitions by designers like Raymond Savignac, Harmen Liemburg, Julia Born or Mathias Schweizer.
i. MANipulation. Selfpromotion poster, 2005. j. Paulina Matusiak.
20th Edition of the Chaumont Festival
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/Design News @ EASD Casttelló/
Skolos & Wedell /Carlo Branzaglia/
k. Poster proposal, Architecture+Design, Furniture Design Departament, Rhode Island School of Design, EEUU, 2004. l. Light of Hope, 2005.
Nancy Skolos (1955) and Thomas Wedell (1949) met at Cranbrook Academy of Art (Michigan, US) in the mid-1970s. Since then, their personal and professional lives have been firmly intertwined. Nancy’s typography and design and Thomas’s photography coexist in their Boston house-studio where, far from clashing, they generate new paradigms of visual communication. The passion both artists profess the creative process has sharpened their inventiveness in a series of forceful posters. Illusory spaces and threedimensional images in caps.
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Additionally, the connection between type and image is an efficient cataloguing instrument to establish four categories within this relation: separation, fusion, fragmentation (image destroys type or vice versa) and inversion (image is transformed into type or type into image). Skolos is quick to admit that fusion is probably the category that prevails in her work, to which it is possible to apply a metaphor that has been in use since the 1980s and evokes choreography.
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/Design News @ EASD Casttello/
m. Rights and Duties. National Congress on the rights and duties of people in metropolitan areas, 1997. n. Matthew Carter The Art of Type, 1999.
Leonardo Sonnoli / Carlo Branzaglia/
Graphic designer Leonardo Sonnoli’s (Trieste, 1962) work exudes a good deal of wisdom. His distinguished trajectory not only makes reference to his roots, but also evolves from cultural criteria. “The more you know the freer you are to generate ideas.”
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An author that shies away from the prospect of coining a style of his own through his posters but who accepts and even defends their minimalist approach: “The fewer elements you use the faster and more direct the communication you achieve.”
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