Presentation CRAFT* Magazine

PRESENTATION CRAFT* Magazine

CRAFT* Economy In Arts Magazine Elisava – Postgrado de Proyectos Editoriales Deseño Editorial de Estructura – Prensa Rita Hart

CRAFT* ECONOMY IN ARTS MAGAZINE

Between The Coulds Masao Yamamoto

NAMING

Elisava – Postgrado de Proyectos Editoriales Deseño Editorial de Estructura – Prensa Rita Hart 01

CRAFT Experiencia, Habilidad, Arte, Competencia, Destreza, Técnica Arts&Crafts - Fue un movimiento estético que surgió en Inglaterra en la segunda mitad del siglo XIX. Defendió la artesanía creativa como una alternativa a la producción de la mecanización en masa, da un gran valor la creación artística.

Between The Coulds Masao Yamamoto

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CRAFT* Es una revista que habla sobre la economía en el mundo de las artes.

La economía actual no se lee solamente en números, también en conceptos y emociones – Arte (arte, design, arquitectura etc.).

Es una revista de asimilación de conceptos a través de una presentación más actual y atractiva, concisa y clara.

Revista en un solo idioma, Inglés.

Between The Coulds Masao Yamamoto

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CRAFT*

Checking in… – Habla de artículos de economia relacionados con el arte.

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CHEKING IN...

ART IN THE NEW ECONOMY

BY ALAN BAMBERGER

BAD ECONOMY MAKES GOOD ART

BY LAUREN COLLINS

WHY SHOULD PEOPLE BUY AND OWN ART?

BY PATRICIA JAMES

SEED OF CHANGE

BY PETER ASPEN

ANISH KAPOOR DEDICATES ART TO AI WEIWEI

BY PETER ASPEN

Between The Coulds Masao Yamamoto

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CRAFT* Checking in…

CRAFT*

C H E C K IN G IN . . .

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BAD ECONOMY MAKES GOOD ART The global economic recession has caused the Getty Museum, the world's weal-thiest arts centre, to slash its budget up to 25%, and there is no objection that economic hardship has also been productive for art.

T

he Whitney Museum and the Museum of Modern Art opened their doors during America's Great Depression.

Photographer Dorothea Lange's image “The Migrant Mother” (seen above) is the essence of the economic hardship.

When times are tough, art can often captivate and inspire the public. Economic crises challenge an established order and art seems to provide answers.

David Philips' seascapes rendered in shredded beer cans are a modern example of art that inspires people to look beyond the day-to-day hardships.Philips began creating the seascapes after an epiphany when he was enjoying a beer on the beach gazing at the sea.

In a February 2009 article, which exami-ned artistic success in hard times, The New York Times reported the museum's first acquisition was Edward Hopper's “House by the Railroad”. The painting was part of their second exhibit, “Paintings by 19 American Artists.” The Times reported that the exhibit had no admission fee. Hopper's painting of a 19th-Century Second Empire-style home is from a viewpoint where railroad tracks and the land elevating them obscure the bottom quarter of the home.

American Poet Edward Hirsch describes the loneliness that Hopper's painting conveys in his poem “Edward Hopper and the House by the Railroad”. A large home abandoned might evoke the emptiness of material things.

Exposing the vulnerability of the material world resonated with people at the Museum of Modern Art's second exhibit.

Dorothea Lange is probably best known for her image “Migrant Mother,” a photograph made while she shot for the Farm Security Administration (FSA). wThe FSA was part of the New Deal under President Franklin D.Roosevelt.

Unemployment had reached almost 25 percent when Roosevelt began his presidency.

Museum of Modern Art Empathy with art consumers probably guided the Museum of Modern Art in its early days.

FSA photographers wanted to show the effects of the Great Depression and changes that mechanization was bringing to America's farms.

While the story behind the picture is subject to differing accounts, Lange's image became the human face staring out at the crisis. The image's publication influenced the government and the public to do more for America's agricultural workers.

A beer and the ocean were all Dave Philips needed to inspire his artwork.

“I had a can of beer in my hand and I was staring out to sea, and then it hit me –

I could combine the two,” Philips told the Metro. Also, the current recession struck his work as a proper-ty developer which probably ad-ded some motivation to create.

An article in What's On reported that Mike Hocking, who runs Masa Fine Art gallery at the Royal William Yard, valued Philips' work at £4,000 per piece.

Both the Metro and What's On Southwest reported that Philips' work is unique in that he is believed to be the only artist using shredded beer cans to create textures in his paintings.

Perhaps the world can look forward to more artistic innovations as the economy continues to flounder. The Associated Press has outlined the economic activity worldwide as a story which includes growth revised downwards.

These are great conditions for history to repeat itself and for art to flourish.

While the story behind the picture is subject to differing accounts, Lange's image became the human face staring out at the crisis. The image's publication influenced the government and the public to do more for America's agricultural workers. While the story behind the picture is subject to differing accounts, Lange's image became the human face staring out at the crisis. The image's publication influenced the government and the public.

BY ANDREW OTTO

PHOTOGRAPH BY DOROTHEA LANGE’S IMAGE “THE MIGRANT MOTHER”

Between The Coulds Masao Yamamoto

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CRAFT*

Report – Una reportage de un pais.

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REPORT

BERLIM (AGENCY)

HORT DESIGN (ARTIST)

THOMAS DEMAND

BY KATY ATYLEVICH

Between The Coulds Masao Yamamoto

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CRAFT* Report

REPORT

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BER LIM ON FIRE

BY KATY ATYLEVICH PHOTOS BY JOÃO GUIMARÃES

Between The Coulds Masao Yamamoto

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CRAFT*

Art – Está sub-seccionado por cuatro temas (Arquitectura, Arte, Design, Fotografia).

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ARTS (ARCHITECTURE)

ROBERT STONE

BY KATYA TYLEVICH

(ART)

BANKSY

BY LAUREN COLLINS

(DESIGN)

ELIZA STROZYK

BY KAREN DAY

(PHOTOGRAPHY)

STEVEN MCCURRY

BY JOHN HARRYS

Between The Coulds Masao Yamamoto

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CRAFT* Art

ART – Architecture

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04 The house can be rented for short stays or public gatherings.

“In America, every community that’s worth a damn has an abandoned house that all the kids know about.”

05 The opening through the centre of the house is aligned with a distant Joshua tree.

forward into a new context. Most architecture, by its very conception, goes straight after timelessness and abstraction and avoids any connection to the living cultural context. Rosa Muerta dives into the here and now, denies nothing, and goes with the flow. It means something now. It will mean something different years from now. But, it will never be meaningless.

If you look back at previous projects, this house develops around the same issues as the Altered Parking Blocks, the Strap-on Subwoofer, the Smoking Tables and the Vacancy Motel. . . creating a kind of armature for social activity, extending minimalist subject/object experiments into a more complicated cultural dimension, exploring the dialectic between the familiar and unfamiliar., and carefully reinvesting the basic body/object relationship with an open but self-concious physicality. I have been developing this aesthetic vocabulary and conceptual approach for nearly 20 years.

Rosa Muerta was my first built example as architecture.

Without a client or a budget, I built this house literally by myself because I wanted

to assert architecture as an individual and direct art form that can exist on underground support alone. I wanted to make architecture directly for the very people who would be cool enough to come out, share it, and support it. So far, there have been hundreds of people that have vacationed there and brought the house to life in as many different ways.

Architect Robert Stone and I are planning my visit to Rosa Muerta, a textured and reflective black mirage, which materializes just east of Joshua Tree in Southern California.

In our initial e-mail correspondence, Stone tries to illustrate what I’m in for: ‘The house sits out in the middle of the open desert, overgrown with weeds and grasses like an exquisite burnedout Barcelona Pavilion from another, much sexier universe.’ S everal days later, my car thermometer climbs 17° in under three hours, ultimately perching at 40°C. Congested Los Angeles freeways give way to dirt roads, steep grades and stretches of dry, uninhabited land. The setting is extraterrestrial, to be sure. And when I finally cross the integrated threshold from scorched sand to smooth black concrete, indeed I

feel I’ve stepped through the looking glass in Barcelona and into Stone’s iridescent, heat-bent and handcrafted galaxy (where I experience an instant drop in temperature under the dramatic overhang). Reflections of Mies van der Rohe bounce, distorted, from the structure’s chrome columns. They replicate again in the (outdoor) living room’s low, mirrored canopy, which reflects back at the reflecting pool (also a spa) and makes the desert floor a ceiling. But with a nod to the columns, Stone urges me to consider the chrome details of a Mongoose BMX bike as well. Later, the architect alludes to legwarmers (yes, the ’80s fashion staple) as he explains how the black rope around each column visually disconnects the straight line of the supporting structure, ‘to make it float a little more’. Clearly, I understand what it means to take a chrome column, and it’s the Barcelona Pavilion – but it’s coming out of the dirt,’ Stone says. ‘It’s not sitting on a plinth; it’s in the desert. I know what the high references are for these things, but there are also ones that are just close to my heart. ’In this way, Rosa Muerta is welded of dichotomous orientation points.

Between The Coulds Masao Yamamoto

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CRAFT*

Future – Es una seccione de artículos de economia ligados al futuro y a la tecnologia.

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FUTURE

WORDS WINDOWS AND CHAOS

BY JOSHUA KOOMEN

WHEN TECNOLOGY IMITATES ART

BY JOSHUA TOMPKINS

COLLECTIVE INTELLIGENCE: A CIVILISATION

BY PIERRE LÉVI

THE DREAMS OF AN ACCELERATED CULTURE

BY MAADS HAAHR

Between The Coulds Masao Yamamoto

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TECHNOLOGY

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WHEN TECHNOLOGY IMITATES ART The result is the seemingly oxymoronic concept of mass customization, in which infinite copies of infinite variations are possible as long as there is stone to quarry.

A

few weeks ago, a sculptor in France contacted Studio Roc, a new stone milling company in North Hollywood, Calif., with the type of challenge the company was seeking. He had a 19th-century limestone lion’s face that he wanted to reproduce for a line of fountains. But carving each face by hand was a tedious chore for which he no longer had the time or resources.

Instead, he shipped the original work to Studio Roc, where technicians mapped it in three dimensions with a laser scanner.

Then they placed a limestone blank in a computer-controlled milling machine and used the scan data to carve a duplicate lion face at the touch of a button.

The result required some hand detailing, but that was exactly what the sculptor wanted. In about six hours, the machine had done the busywork that would have taken him much longer with a hammer and chisel. ‘’What energy does he have left after slaving for a week over one piece?’’ said Studio

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Roc’s chief executive, Kenneth Kai Chang. ‘’Now he can really get toward the back end, the finished look, much faster than he could before.’’

The limestone lion is an example of how technology is transforming the way sculpture, architectural elements and many other once-hand-carved items can be created or cloned. Scanners, computer-aided design software and automated milling devices are assisting sculptors and in some cases replacing them, creating detailed pieces from slabs of marble and reverse-engineering complex .

The result is the seemingly oxymoronic concept of mass customization, in which infinite copies of infinite variations are possible as long as there is stone to quarry.

But the harnessing of these granite-grinding Xerox machines, able to duplicate just about any sculpture, may also blur the line between what is authentic and what is not. may also blur the line between what is authentic and what is not. Is such a sculpture art, or merely a computer-aided copy?

In March, for example, using data generated during a monthlong scan of Michelangelo’s David by researchers from Stanford University and the University of Washington, Gentle Giant Studios, a specialeffects firm in Burbank, Calif., turned out a small replica of the 17-foot tall statue.

While reasonably faithful copies of David have been created using plaster casts, the 15inch replica is the most perfect scale model ever created of the masterpiece. Made with permission from Italian officials, it could potentially seed an army of near-identical twins. (A Stanford University Web site says the researchers will indeed sell copies of the model eventually, although Marc Levoy, a computer science professor who oversaw the scanning project, said there were no plans to do so.)

Studio Roc’s goal is not to upset the art world, but to attract architects and contractors who want custom-carved fixtures turned out faster, at a lower price and with more precision than if they were done by an

artisan. Mr. Chang, a former architect who describes his company as ‘’on the leading edge of the stone industry,’’ said, ‘’We just felt it was about time someone really put their head to it and pulled together the three or four or five technologies to make this area of construction up to date.’’

William Hablinski, a Los Angeles architect who has designed residences for Gov. Arnold Schwarzenegger of California and Warren Beatty, predicts that computerized milling will become an integral part of upscale home construction, especially for moldings. ‘’You’re basically asking a robot to do what you would normally have to pay a master stone carver something on the order of between $70 and $180 per hour,’’ he said.

Mr. Hablinski said he would still hire an artist to create a unique fixture such as an ornate mantelpiece. ‘’We want to keep the craft alive,’’ he said. ‘’We don’t want the craft of stone carving to go away.’’

If the craft does fade, it will be because of equipment like that at Studio Roc, including a huge Italian-made Omag Mill5 five-axis milling machine. Equipped with a scanner and 30 interchangeable diamond-tipped bits and blades, the Mill5 can record nearly any object in minutes and carve a duplicate in any stone in a few hours.

The scanner and milling head are housed in a single armature that hangs from a motorized gantry and can deploy its tools at any angle, even aiming upward to trim a cornice detail or hollow out a gargoyle’s maw.

Like the lion’s face, each finished product requires some hand work at the end, but the system can shoulder as much as 95 percent of the job, Mr. Chang said.

In March, for example, using data generated during a monthlong scan of Michelangelo’s David by researchers from Stanford University and the University of Washington, Gentle Giant Studios, a specialeffects firm in Burbank, Calif., turned out a small replica of the 17-foot tall statue.

While reasonably faithful copies of David have been created using plaster casts, the 15inch replica is the most perfect scale model ever created of the masterpiece. Made with permission from Italian officials, it could potentially seed an army of near-identical twins. A Stanford University Web site says the researchers will indeed sell copies of the model eventually, although Marc Levoy, a computer science professor who oversaw the scanning project, said there were no plans to do so. A computer science professor who oversaw the scanning project.

JOSHUA TOMPKINS

CREATIVITY IN PROCESS W

hile most of the offerings in the present issue of Crossings address the art/ technology interface in the experience of musicians and their listening audience, the themes raised generalise well beyond the musical domain.

A particularly prominent theme that will be familiar to regular Crossings readers is collaboration in the creative process. Many of the contributions in the present issue explore the way that technological changes are prompting shifts in the distribution of roles in the creative processes.

In the context of music, it is possible to map out four distinct creative processes: instrument (tool) making, composition, performance and listening. In some cases, traditionally distinct roles, such as instrument maker, composer and performer are merging with unknown results for the status of musical production in the future, as Sile O’Modhráin observes in her commentary. The merging of these roles constitutes a different type of interaction between the four creative processes: an intra-personal rather than in-ter-personal interaction. At the same time, incorporating multiple disciplines into one artistic practice requires either polymathic abilities or close communication between people of widely different technical and artistic backgrounds, as Helen Mitchell outlines in her discussion of music education. Artists must either master a broader range of skills or collaborate with others in order to realise their vision.

Such challenges aside, technology also facilitates the expansion of creative practice by allowing for collective creation of artworks, thus blurring the roles of artist/performer and audience member. Dante Tanzi explores how online communicative processes (facilitated by new Internetbased tools for music exchan-

ge and collaboration) affect practices of composition and reception. Tanzi takes his starting point in two recent technological developments: the digitisation of audio, and the ability to exchange it over the Internet. He observes that multiple forms of access to a huge body of material allow users to participate in the creation of musical content (and hence take on the roles of composer and performer) and also to improve their interpretative skills.

However, there is also a risk of losing the context that would make such musical experiences meaningful.

Frank Pecquet focuses on changes in the creative process of music composition using electronic tools. Pecquet shows how the availability of digitised music combined with the increased adoption and sophistication of such tools allow even highly complex scores under composition to be immediately performed (using electronic tools rather than human performers), resulting in a more interactive process of composition than when the composer uses his or her ‘inner ear’ for the purposes of realisation.

Focuses on changes in the creative process of music composition using electronic tools. Pecquet shows how the availability of digitised music combined with the increased adoption and sophistication of such tools allow even highly complex scores under composition to be immediately performed (using electronic tools rather than human performers), resulting in a more interactive process of composition than when the composer uses his or her ‘inner ear’ for the purposes of realisation.

Focuses on changes in the creative process of music composition using electronic tools. Pecquet shows how the availability of digitised music.

ELIZABETH DREW

Between The Coulds Masao Yamamoto

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Talks – Seccióne de entrevista a alguien.

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TALKS (INTERVIEW)

JAMES NACHTWEY

BY JOHN PAUL

Between The Coulds Masao Yamamoto

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CRAFT* Talks

TALKS

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Nachtwey’s photographs “There sighs, lamentations and loud wailings resounded through the starless air, so that from the beginning it made me weep.” Nachtwey’s photographs for “Time,” the “New York Times” Magazine, and other publications have won an unprecedented five Robert Kappa Gold Medals from the Overseas Press Clubs. Thank you for being with us.

JN: Thank you.

JPC: What brought you to do this book? These are not easy pictures to look at.

JN: “Inferno” is a record of crimes against humanity that occurred during the final decade of the 20th century. I began in 1990, and followed stories as they evolved throughout the decade up to cost slow. -- Kosovo. It’s meant to be a kind of visual archive, so that this work will enter into our collective conscience and our collective memory.

JPC: Okay. Let’s start with a picture from Somalia. Tell us about this picture.

JN: This was a picture that was made in a small town in the town of Barbera in the intensive care tent that was set up by a humanitarian organization that had gone there to help relieve the victims of the famine. It’s a boy who is near death. His father is trying to comfort him, give him some water. And in the next frame, the boy dies. It’s a moment of tenderness and connection and love of a father for his son that is expressed in the direst circumstances. And it’s moments like these that I’ve seen own over and over again that give me faith in humanity.

JPC: : Tell us a little bit about this picture.

JN: This is in one of the orphanages in Romania just after the fall of the Ceausescu regime. As I traveled through Romania, I discovered a kind of gulag of dozens of these inhuman institutions, and it’s a stark, graphic representation of the kind of conditions that children and old people and especially anyone who was perceived to have a mental or physical handicap were being kept quite often throughout their entire life.

JPC: You said when you were taking these pictures of Romania, you just wanted to leave, but you didn’t leave. Why? What is the value?

What is it you’re trying to do?

JN: If I cave in, if I fold up because of the emotional obstacles that are in front of me, I’m useless. There is no point in me being there in the first place. And I think if you go to places where people are experiencing these kinds of tragedies with a camera, you have a responsibility. The value of it is to make an appeal to the rest of the world, to

create an impetus where change is possible through public opinion. Public opinion is created through awareness. My job is to help create the awareness.

JPC: When did you start doing this? When did you know that you wanted to do this work?

JN: I became a photographer in order to be a war photographer, and a photographer involved in what I thought were critical social issues. From the very beginning this was my goal.

JPC: Long ago, in the 70’s, right? You taught yourself to do it?

JN: Yes. I began after college, about 1972.

I began to teach myself photography. I went to work for a local newspaper for four years as a kind of basic training. But this kind of work was always my goal.

JPC: And you do certainly shoot war... I mean, I think of this picture, for example, which is from Bosnia, right?

JN: That’s from the fighting in Mostar. I managed to get access through a group of Croatian militiamen in the very first days of the fighting as they were trying to ethnically cleanse the city of Mostar. They were fighting from house to house, from street to street, sometimes from apartment to apartment, pushing their own neighbors out of the city. What’s very poignant to me about this particular picture is that it’s a bedroom.

It’s where life itself is conceived, where people share love and intimacy. And now it’s become a battlefield and a killing ground.

JPC: And you’ve written that you used to think of yourself as a war photographer, but now you think of yourself as an anti-war photographer. Explain the distinction.

JN: At the very beginning, I think I was still interested in the dynamics of war itself as a kind of fascinating study. And it evolved into more of a mission whereby I think to present pictures of situations that are unacceptable in human terms became a form of protest. So I found that my pictures were actually specifically trying to mitigate against the war itself.

JPC: You’ve written that you used to look for the moment of highest drama, a picture that would tell the whole story in one image, but in this book, here, for example, you’ve got consecutive pictures, almost like... it’s almost cinematic.

Explain what you’re doing here.

JN: I became interested in portraying reality in a kind of cinematic way through a variety of moments and angles so that the

viewer could piece together a reality that was in a way beyond the presence of the photographer, that had a relentlessness and ongoing quality to it -- that became a reality beyond my own pictures.

JPC: And you’ve written that all your pictures are a combination of what is inside of you and what is in front of you. Explain that, too.

JN: It’s a confluence. I don’t believe there’s any such thing as objective reality. It’s only reality as we experience it. And whatever emotions I’m feeling, for whatever reason I’m feeling them, get channeled into my work. If I’m feeling outraged, grief, disbelief, frustration, sympathy, that gets channeled through me and into my pictures and hopefully transmitted to the viewer.

JPC: And you do certainly shoot war... I mean, I think of this picture, for example, which is from Bosnia, right?

JN: That’s from the fighting in Mostar. I managed to get access through a group of Croatian militiamen in the very first days of the fighting as they were trying to ethnically cleanse the city of Mostar. They were fighting from house to house, from street to street, sometimes from apartment to apartment, pushing their own neighbors out of the city. What’s very poignant to me about this particular picture is that it’s a bedroom.

It’s where life itself is conceived, where people share love and intimacy. And now it’s become a battlefield and a killing ground.

JPC: And what do you specifically hope that people are do after they see these pictures? Let’s take just this one, for example, this is Rwanda.

JN: This is a picture of a man who had just been liberated from a Hutu death camp where mainly members of the Tutsi tribe were being incarcerated, being starved, beaten, abused and systematically killed. This man happened to be a Hutu himself, but because he didn’t support the genocide, he was subjected to the same treatment. On the most basic level, I hope that people when they look at this work will engage themselves with it and not shut down, not turn away from it, but realize that their opinion counts for something, that they become part of a constituency, and people who have the power to make decisions that affect the lives of thousands of people know that there’s a constituency forming out there, and they have to do something about it.

JPC: Well, James Nachtwey, thank you very much for being with us.

JN: You’re welcome.

Between The Coulds Masao Yamamoto

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*Things – Parte de bazar y moda.

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*THINGS (BAZAR)

BLUE THINGS BLACK THINGS MORE THINGS

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CRAFT* *Things

*THINGS

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MORE THINGS RYOJI IKEDA The Transfinite PERFORNANCE

ISABELLA BLOW

by Stefan Brüggemann BOOK 2011

Park Avenue Armory New York May 20 — June 11, 2011 www.armoryonpark.org/

www.triangulobooks.com

“…an extreme and elaborate visual and sonic environment.”

- New York Magazine

YOHJI YAMAMOTO Retrospective FASHION EXHIBITION Victoria and Albert Museum London March 12 – July 10, 2011 www.vam.ac.uk/

YAYOI KUSAMA The Passing Winter EXHIBITION

THE MATTSON2 Feeling Hands CD 2011 www.mattson2.com/blog/ www.galaxiarecords.com/

TATE Modern London February 8 — May 20, 2012 www.tate.org.uk/ “…This is a varied, spectacular exhibition of a truly unique artist.”

- TATE Modern curator

Between The Coulds Masao Yamamoto

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TARGET Gente joven, entre 25 y 45 años, con alta formación académica y intereses más allá de la economía — como el Arte (arte, design, arqitectura etc..) periocidad Mensual ¿DONDE? Se vende en quioscos y librerías.

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FORMATO 20 X 27 cm.

Tamanho más o menos estándar (entre la revista Elephant y Monocle).

Fácil manejo, para leer en cualquier lugar.

PÁGINAS 128 Páginas 4 cadernos 6 secciones ENCUADERNACIÓN Rústica cozida IMPRESIÓN Offset - 4 colores

Between The Coulds Masao Yamamoto Elisava – Postgrado de Proyectos Editoriales Deseño Editorial de Estructura – Prensa Rita Hart

RETÍCULA RETÍCULA principalmente de 3 columnas o de 6 columnas se necesario

INSIDE 20 mm

OUTSIDE 15 mm

TOP 35 mm

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GUTTER de 5 mm

BOTTOM 20 mm

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RETÍCULA

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Textos Imagénes

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Textos Imagénes

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Textos Imagénes

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CHECKING IN...

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WHY SHOULD

PEOPLE BUY

AND OWN ART?

Selling art can be just as hard, if not harder, than making art.

This sentiment has been and will continue to be echoed by fine artists everywhere for as long as artists make art. The instant a work of art is finished and ready to leave an artist’s studio, that artist is now confronted with the seemingly insurmountable task of having to convince someone somewhere that not only is the art worth experiencing, enjoying and appreciating.

S

PHOTO BY WILLIAM POWHIDA

Textos Imagénes

o in the interest of minimizing the pain and suffering of selling your art – and of encouraging more people everywhere to own more art – please feel free to incorporate any or all of the following helpful hints about why art is worth owning into as many of your sales presentations as necessary:

04 Art inspires people to think about and even visualize ways that life might one day be better than it is now.

01 Art is a powerful form of expression not only for the artists who create it, but also for those who own it.

Art allows people to express their individuality, and to represent deeply held beliefs, feelings, convictions.

06 Children are fascinated with art.

Art makes children ask questions, encourages them to fantasize and imagine, and expends their perceptions of reality. Art teaches children how to be creative.

02 Art encourages people to ask questions, to take brief moments out of our busy lives to reflect on ideas other than how to make more money faster or how to get over on the competition.

07 Art is environmentally friendly, energy efficient, and easy to maintain. It does not increase global warming, use fossil fuels, or need to be serviced on a regular basis, and it’s certainly not just another expendable.

03 Art improves quality of life. All you have to do is think about the difference between a room with bare walls and one with walls full of art.

08 Art transforms and personalizes the places where we live and work. Art can evolve lifeless interiors, into unique, beautiful and engaging local.

05 Art stimulates the expression and inter-change of thoughts, feelings, and ideas among strangers who might never otherwise say a single word.

09 An original work of art is not only visually appealing, but it also communicates the personality, abilities, creativity, inspiration, attitudes, and at best, the brilliance and genius.

10 Art makes people proud to live, work, and play where they do. They point to their museums, public monu-ments, and cultural institutions with pride.

For those of you buyers who like to profit from your art, people decide where to spend their time (and money) based on the types or amounts of art.

11 For those so inclined, art can be used to signify wealth, success or power, and can even be used to intimidate.

Anyone who sits and meets with this individual must also contend with his art.

PATRICIA JAMES

Between The Coulds Masao Yamamoto

RETÍCULA

Elisava – Postgrado de Proyectos Editoriales Deseño Editorial de Estructura – Prensa Rita Hart

CHECKING IN...

CRAFT*

14

15

22

WHY SHOULD

PEOPLE BUY

AND OWN ART?

Selling art can be just as hard, if not harder, than making art.

This sentiment has been and will continue to be echoed by fine artists everywhere for as long as artists make art. The instant a work of art is finished and ready to leave an artist’s studio, that artist is now confronted with the seemingly insurmountable task of having to convince someone somewhere that not only is the art worth experiencing, enjoying and appreciating.

S

PHOTO BY WILLIAM POWHIDA

o in the interest of minimizing the pain and suffering of selling your art – and of encouraging more people everywhere to own more art – please feel free to incorporate any or all of the following helpful hints about why art is worth owning into as many of your sales presentations as necessary:

04 Art inspires people to think about and even visualize ways that life might one day be better than it is now.

01 Art is a powerful form of expression not only for the artists who create it, but also for those who own it.

Art allows people to express their individuality, and to represent deeply held beliefs, feelings, convictions.

06 Children are fascinated with art.

Art makes children ask questions, encourages them to fantasize and imagine, and expends their perceptions of reality. Art teaches children how to be creative.

02 Art encourages people to ask questions, to take brief moments out of our busy lives to reflect on ideas other than how to make more money faster or how to get over on the competition.

07 Art is environmentally friendly, energy efficient, and easy to maintain. It does not increase global warming, use fossil fuels, or need to be serviced on a regular basis, and it’s certainly not just another expendable.

03 Art improves quality of life. All you have to do is think about the difference between a room with bare walls and one with walls full of art.

08 Art transforms and personalizes the places where we live and work. Art can evolve lifeless interiors, into unique, beautiful and engaging local.

05 Art stimulates the expression and inter-change of thoughts, feelings, and ideas among strangers who might never otherwise say a single word.

09 An original work of art is not only visually appealing, but it also communicates the personality, abilities, creativity, inspiration, attitudes, and at best, the brilliance and genius.

10 Art makes people proud to live, work, and play where they do. They point to their museums, public monu-ments, and cultural institutions with pride.

For those of you buyers who like to profit from your art, people decide where to spend their time (and money) based on the types or amounts of art.

11 For those so inclined, art can be used to signify wealth, success or power, and can even be used to intimidate.

Anyone who sits and meets with this individual must also contend with his art.

PATRICIA JAMES

Between The Coulds Masao Yamamoto

MATERIAIS

Elisava – Postgrado de Proyectos Editoriales Deseño Editorial de Estructura – Prensa Rita Hart 23

PAPEL Papel Cubierta Papel Biblos Guarros – es un papel couchet blanco texturado.

- Tiene una textura como de una tela de un quadro.

Papel Gris (1º y 2º caderno) Papel Popset perla para seccionés más ligadas a economía – Checking in..., Report, Future y *Things - Mucho carácter y con una contextualización muy clara.

Papel Offset blanco (3º caderno) Papel blanco para hacer diferencia con las otras secciones – seccione de arte - Gran calidez al tacto, mucha absorción de tinta en la impressión. Excelente para la lectura.

Papel Estucado Brillante (4º caderno) Papel con textura diferente – para secção de editoriais de moda, que es una seccione á parte.

- Gran calidade de impresión. Buen resultado en texto y principalmente fotografia.

Between The Coulds Masao Yamamoto

TIPOGRAFIA

Elisava – Postgrado de Proyectos Editoriales Deseño Editorial de Estructura – Prensa Rita Hart 24

TIPOGRAFIA DE TEXTO Swift, es una tipografia de fácil lectura, mucho utilizada en periódicos y revistas. Swift se ha convertido en un clásico contemporáneo. Con grand legibilidad, en tamaños pequeños.

SWIFT REGULAR ABCDEFGGHIKLMNOPQRSTUVWXYZ ab cdefghijklmnopqrstuvwxyz 12 34567890 ?!* SWIFT BOLD ABCDEFGGHIKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ?!*

Between The Coulds Masao Yamamoto

TIPOGRAFIA

Elisava – Postgrado de Proyectos Editoriales Deseño Editorial de Estructura – Prensa Rita Hart 25

TIPOGRAFIA DE BASE (como paginación) ITC Officina Sans es una tipografia de la miesma familia de la ITC Officina Serif.

Es utilizada en los pormenores de la revista.

ITC OFFICINA SANS BOOK ABCDEFGGHIKLMNOPQRSTUVWXYZ ab cdefghijklmnopqrstuvwxyz 1234567890 ?!* ITC OFFICINA SANS BOLD ABCDEFGGHIKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ?!*

Between The Coulds Masao Yamamoto

TIPOGRAFIA

Elisava – Postgrado de Proyectos Editoriales Deseño Editorial de Estructura – Prensa Rita Hart 26

TIPOGRAFIA DE DIVISIÓN DE SECCIÓN Umbra es utilizada para como tipografia de identidad corporativa e tambien como en las divisiones de sección.

Es una fuente con gran personalidad e fuerza.

ITC OFFICINA SERIF BOOK ABCDEFGGHIKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ?!*

Between The Coulds Masao Yamamoto

TIPOGRAFIA

Elisava – Postgrado de Proyectos Editoriales Deseño Editorial de Estructura – Prensa Rita Hart 27

TIPOGRAFIA DE TITULARES/ SUBTITULARES/ destacados ITC Officina serif es una tipografia con gran personalidade, fuerza y carisma. Es bastante utilizada en periodicos y revistas de economia.

ITC OFFICINA SERIF BOOK ABCDEFGGHIKLMNOPQRSTUVWXYZ ab cdefghijklmnopqrstuvwxyz 1234567890 ?!* ITC OFFICINA SERIF BOLD ABCDEFGGHIKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ?!*

Between The Coulds Masao Yamamoto

COLORES

Elisava – Postgrado de Proyectos Editoriales Deseño Editorial de Estructura – Prensa Rita Hart 28

COLORES Los colores utilizados en el primero número de la revista Craft* son: - Azul cian y negro.

CIAN

NEGRO

C 100% M 0% Y 0% K 0%

C 0% M 0% Y 0% K 100%

Between The Coulds Masao Yamamoto

COLORES

Elisava – Postgrado de Proyectos Editoriales Deseño Editorial de Estructura – Prensa Rita Hart 29

COLORES OTROS NÚMEROS En cada número de la revista hay un color que se destaca.

Estas seriam las colores de los números seguientes:

ROJO

VERDE

GRIS

ROSA

AMARILLO

GRANTE

C 0% M 100% Y 100% K 0%

C 100% M 0% Y 50% K 0%

C 0% M 0% Y 0% K 40%

C 0% M100% Y 0% K 0%

C 0% M 15% Y 100% K 6%

C 24% M100% Y 100% K 22%

Between The Coulds Masao Yamamoto

REVISTA – CABECERA

Elisava – Postgrado de Proyectos Editoriales

Rita Hart 30

CABECERA En cada número de la revista hay un color que se destaca, y este cambia también en la cabecera.

Craft*

01

Deseño Editorial de Estructura – Prensa

economy

in

art S

MAGAZINE

Between The Coulds Masao Yamamoto Elisava – Postgrado de Proyectos Editoriales Deseño Editorial de Estructura – Prensa Rita Hart 31

REVISTA – Portada

Between The Coulds Masao Yamamoto Elisava – Postgrado de Proyectos Editoriales Deseño Editorial de Estructura – Prensa Rita Hart 32

REVISTA – Otras portadas

Between The Coulds Masao Yamamoto Elisava – Postgrado de Proyectos Editoriales Deseño Editorial de Estructura – Prensa Rita Hart 33

REVISTA – Otras portadas

Between The Coulds Masao Yamamoto Elisava – Postgrado de Proyectos Editoriales Deseño Editorial de Estructura – Prensa Rita Hart 34

REVISTA – Otras portadas

Between The Coulds Masao Yamamoto Elisava – Postgrado de Proyectos Editoriales Deseño Editorial de Estructura – Prensa Rita Hart 35

REVISTA – Otras portadas

Between The Coulds Masao Yamamoto Elisava – Postgrado de Proyectos Editoriales Deseño Editorial de Estructura Rita Hart 36

REVISTA COMPLETA

Between The Coulds Masao Yamamoto Elisava – Postgrado de Proyectos Editoriales Deseño Editorial de Estructura Rita Hart

GRACIAS