Cadernos do
Ver達o 2015
OLHAR#14
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Tom Mullaney/AtypI Audit贸rio FAAP SP
mo(vi)mentos
Desenhar mais que uma habilidade manual, é o domínio do mundo pelo olhar ou aprender como ligar o movimento da retina ao movimento da mão. Para ter sucesso nesse processo, temos que aprender a ter a mente tranquila. A mão e a retina precisam se movimentar em passos unidos simbióticamente ao traçar fisicamente uma linha. E por meio desse processo que podemos aprender a confiar, não na mente, mas na retina, diz Elliot Earls. Quem afirma «não saber desenhar» revela a incapacidade de olhar e perceber o que está à sua volta. Parar o mundo, exigia D.Juan do aprendiz Castañeda incapaz de desligar o olhar automático da razão no início de seu treinamento com o bruxo. Imaginamos garantir nosso olhar por meio do visor da máquina fotográfica e do celular, mas isso não garante que vimos ou vemos. Desenhar (e olhar) grava para sempre o mundo na mente e no coração. Prende, Apreende. O editor.
Lorenzo Apicella/FAAP Revista ABCDesign
mo(ouve)ments
I began [disastrously] by asking him what new wave typography was. He did not even grimace, but simply replied “I don’t know”, disarming my badly structured line of argument. Regaining my composure, I asked him what post-modern typography was? “I don’t know”, came the answer. Humiliated, I understood the message, switching off the recorder and arranging to start afresh. CF
Switzerland, Basel/Kate Wolf & Wolfgang Weingart
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I invite you to know the Museum of Corntemporary Art, a small private art museum that I direct. Located in my office at the University of Illinois, Chicago, it includes more than 400 items drawn from the heights and dregs of popular culture. All qualify as “corntemporary art� because they reveal something significant about the human experience. Victor Margolin, 2004
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| Victor Margolin /Anhembi Morumbi SP
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Pode parecer muito, mas no final foi difícil escolher o que deixaria de fora. Optei por retratar o Rio como é: com lindas paisagens, mas também com seus problemas. Não quis censurar o produto. Exemplifico com o pictograma da Lagoa Rodrigo de Freitas: a escultura com um arco e flecha apontando para a lagoa somada a peixes mortos – indicando a imensa mortandade que houve este ano – e em muitos outros.
Fábio Lopez/What Design Can Do | Rik Bas Backer & José Albergaria/AGI Open
| Pepijin Zurburg/WDCD
There have been a number of fonts in recent years which claim to improve reading for people with dyslexia. Many of these designs have a handwritten quality, similar to Comic Sans. Often, the designers of these fonts claim to understand what is required to design a dyslexic font, simply by virtue of being dyslexic themselves. There may be some design merit to these fonts but the claim that they are favourable to dyslexics is misleading, and shows a complete lack of understanding what dyslexia is. The presentation will critique the | Bruno Maag & Alessia Nicotra designs that claim to be “the font for dyslexia�, based on a scientific overview of dyslexia, and how dyslexia is dependent on language and other factors. It will also highlight the ignorance of design institutions that have awarded MAs and PhDs for fonts designed in the name of dyslexia.
| Mariana Santos/WDCD
Ellen Lupton/ESPM SP Iara de Camargo/AtypI
| Paula Scher/Revista ABCDesign FAAP | Marije Vogelzang/WDCD
建国张 字体经营部 中国北京 Jianguo Zhang, Font Business Dept., Beijing, China
Sissel Tolaas: Some fundamental questions about the smell:
Can I learn smells the way I learned the ABCs and 123s? Is it possible to get rid of prejudices towards certain smells? How can one describe and remember smells? Can smells be measured? How can I use the information in smells? Can an abstract smell molecule portray or convey a specific learned meaning by itself? Can smell be an information unit combined in communication systems with other sensory information? Can smell per se be an information unit and be used for the purposes of communication and navigation?
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|Tracy
Indra Kupferschmid is a German typographer and teacher based in Bonn and SaarbrĂźcken. After studing visual communication at the Bauhaus-University Weimar and with Fred Smeijers in the Netherlands, she founded her own studio mainly working in publication design; research projects on architecture and housing; typeface development for print, packaging, consumer-product interfaces and electronic devices. Indra.
The Netherlands is known for its control over water. But now that the climate is changing, the Dutch are also changing their approach towards water management. In cities more space is being created for water, the landscape is being redesigned to let water in and sometimes the dikes are even being lowered. Water is becom ing a friend instead of an enemy – or better said, frenemy. Tracy.
Metz
ATypI 2015, embedded in tropical heat and the impressive beauty of inner São Paulo, was an experience on its own. Shaped by the charismatic local team, visitors and speakers, spiced by international expertise and an overall vivid exchange, the focus lay on two main aspects; one, not surprisingly, on regional type and graphic design, the other on business. The first offered wonderful insights to indulge into, the second came like long-awaited. Rests of romanticism (if there were any) concerning producing, promoting and selling typefaces are gone, whereas a well-balanced, refreshing shift towards reality – facing, naming and discussing it – took place. Sonja.
Isabella Aragão/AtypI | Lara Captan/AtypI Sonja Knecht/AtypI | Ann Bessemann /AtypI
In my view the Congress in Sao Paulo was interesting, as about 200 young Brazilians came to this congress. They probably never would come to an ATypI congress to Europe. ¶ The place/FAAP was very good chosen with those rooms for workshops and the big auditorium. Erich.
In 1987, Sumner Stone completed his designs for ITC Stone. This “superfamily” solves the problem of mixing different styles of type on the same page by offering three distinctive variations — Serif, Sans, and Informal — that work together seamlessly thanks to consistent cap heights, stem weights, and proportions. As a large integrated family, the Stone types can be mixed successfully in newsletters, business correspondence, books, and packaging. Chuck Byrne
Erich Alb/AtypI | Niklaus Troxler/AGI Open Sumner Stone/Pós FAAP | Carlos Perrone/FAAP
I found out that the root word of mathematics, ‘ mathematica’, means, ‘to review or rethink what you already know’, and thus I’m being influenced anew by mathematics itself. Kenya.
Alexandre Wollner/UAM | Taku Sato/AGI Open Claudio Rocha/AtypI | Kenya Hara/AGI Open
A relação entre comida e identidade cultural é inegável. A culinária local é carregada de uma carga histórica: ela representa os recursos e ingredientes disponíveis, momentos de escassez e abundância, crenças e costumes. Quando visitamos novos lugares, a gastronomia local sempre está inclusa no roteiro como parte da experiência de conhecer uma nova cultura. Alex.
My research has three objectives: Firstly analysing typography in the urban environment as a significant stakeholder in the construction of social space. Do multilingual texts show typographic coexistence that is transferable to social cohabitation? Secondly studying typography as a dynamic archive and historical trace in the townscape. And thirdly identifying the extent to which letterforms show language specific attributes that may relate to cultural identities in a diverse urban context. Irmi.
Rafael Neder/AtypI | João Bandeira/AtypI Alex Atala/WDCD | Irmi Wachendorff/AtypI
Writing is thinking in its purest form
His critical view is always interesting and challenging, but do not know any review of design in Brazil: do you have any idea about the design scene in Brazil? Or any expectation or reference?
I have never visited Brazil before and I don’t know the Brazilian design scene. I look forward to finding out more. My lecture will address the conference theme, but re-frame the title as a question: “What can design do?� I will look specifically at communication design. The lecture provides me with an opportunity to reconsider the possibilities of graphic communication. Rick
Rick Poynor/WDCD Richard vad der Laken/WDCD | Marina Willer/AGI Open
mo(ouve)ments AGI Open SP 2014 Audit贸rio Ibirapuera
MOVE M E N T 0 Cadernos do Olhar#14 Verão/Summer/Été /Estiu Edição & Design Claudio Ferlauto Textos de Chuck Byrne e outros designers Eventos/Events/Événements/Eveniments � AGI Open São Paulo 2014 � AtypI 2015 São Paulo �
WDCD FAAP 2015
Composto em/Set in ITC Stone Sans e ITC Fenice Contatos/Contacts/Contactes qu4tro.com.br/blog claudio@qu4tro.com.br Desenhado em março 2016.
Gamboa, SC, Brasil The Nomadic College provides a methodically designed curriculum and focused environment for the study and practice of the Axis Syllabus, a trans-disciplinary research and training platform concerned with the practice, study and teaching of bio-mechanics as they apply to a body in motion and the art of dancing.
mo(vi)mentos
Cadernos do
Ver達o 2015
OLHAR#14
mo(vi)mentos mo(ve)ments mo(ouve)ments mo(vi)ments