DOCSLIB.ORG

Sabine Drabble Creative Practice

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Sabine Drabble Creative Practice WD Magazine heffield is one of the most prolific Japan 2011 cities for creatives outside of London 5-page feature, and so we have a fair few great design S ‘Worldwide Creator’s companies. One of the most exciting is Archive’, Web Designing HumanStudios founded in 2007 it is more commonly referred to as Human. The Magazine, Japan company is the brainchild of ex Designers Republic member Nick Bax and they have an impressive list of clients under their belt. Working out of their studio in the Park Hill area they have collaborated with institutions and brands such as MTV, Swatch, Arts Council and Channel 4. Their work has also been exhibited in Europe, Japan and the United States, and featured in various publications and blogs around the world Chaos and Theory 2010 including Eye Magazine, The Guardian. Collaboration with artist Paul Evans Animated sequence on 3 screens. First exhibited We took some time with the Man himself to as part of ‘Origin010’, an exhibiton of new work by get answers to questions that we all wanted Paul Evans, Chris Jones and Humanstudio. Sheffield to know from the reason behind his leave Institute of Arts Gallery, 16.08.10 - 12.09.10 from The Designers republic to what makes him tick. The Black Dog 2011 Dubfire 2008 - present human Visual performances using bespoke animated Album / EP cover designs sequences at various locations around the world and live event visuals Nick Bax on life after including Ministry of Sound, London (2008), WMC, ‘Music For Real Airports’ Miami (2009), Parc La Pau, Barcelona (2011-13), Designers Republic Hyperspace, Budapest (2011), Global Gathering, Stratford-Upon-Avon (2011), Amsterdam Dance Event (2013) and other venues in Bulgaria, Germany, Poland, Spain and the UK (2009-13). /// 04 | THE VAULT /// 06 | THE VAULT THE VAULT | 05 \\\ based in a building with a sense of history and not a generic office block. B: What is your favourite piece of your own work and why is it your favourite? NB: Designers often say “the next one” and that can sound cheesy but, regardless of how long you’ve BAX been working, if you don’t believe in what you’re doing now you should do something else. A few months ago we collaborated with the Department of Computer Science at the University of Sheffield on a project called COMPUTER LOVE HITS - an online 3D gallery with exhibits examining the relationship between humans and computers. I came up with the concept, curated the exhibition and designed the gallery with Dan here at Human. It gave me an opportunity to work with artists I respect and really push how their ideas are communicated. Even B: What is your favourite piece of art? BACK NB: I’ve not found it yet, but James Turrell’s Deer Shelter after 22 years, I can’t think of anything better I’ve worked on or been more proud of. Skyspace at Yorkshire Sculpture Park comes pretty close, B: How did you get to this point in time? as does the work of Jeremy Moon and Kenneth Martin. NB: My family lived in Huddersfield, West Yorkshire, B: With more and more ways to show visual work, until I was 9 and then moved to Maltby, a mining what do you find to be the most satisfying? Does B: What do you dislike in art? village in South Yorkshire. When I was 12 my art design for print still hold interest over installations NB: Lazy corporate artists. teacher asked me: “Do you know what a graphic and live media? designer is?” I said “no” and he replied “I think you Each medium has its own quality, but we don’t really B: What makes you smile in art? should find out”. worry about the media – just the message. The best NB:Jeremy Deller. Heartwarming and life affirming. After leaving school, I studied Art & Design at method is the one that gets the idea across. Rotherham College and then Graphic Design at B: Good advice you wish you’d been told earlier? Colchester Institute. While I was studying I had 2 B: Three words that sum up you and your attitude to Do what you love. Or do something else. work placements at The Designers Republic (TDR) what you do? and officially joined TDR just 3 days after I finished NB: Family. Art. Human. B: Where were you last happiest? my course in 1990. No gap year for me :-) NB: On a Friday night a few weeks ago. The whole In early 1992 I was recruited by Mainartery, a B: Describe your style? team went out in the Shalesmoor Triangle with London-based music-industry design company, but NB: Like many British men my age, I’m a Sci-Fi junkie, various partners and friends to celebrate Human’s found myself being drawn back to Sheffield and TDR so I guess there’s always some element of “the 5th birthday, Dan’s 29th birthday and the 1st week of in summer 1993. After 14 amazing years I left TDR in future” in anything I work on - that’s what interests our new designer, Michaela. 2007 and launched Humanstudio. me. It means a lot to see 15 people happy at the same In my role as creative director of Human I’ve realised time in the same place and know that you’ve played B: Where are you based? my “style” goes beyond the aesthetic. It’s a way of a big part in making that happen. It also means a NB: Sheffield, South Yorkshire. Apart from my doing things; how you treat people, being ambitious lot to be able to walk into the 7 Spices and say “30 18-month ‘sabbatical’ in London, I’ve lived in and yet content in life, showing respect and listening popadoms please” Sheffield my entire working life. 22 years and to others, pushing technology and examining what it I REALISED THAT MY counting... actually means to be a designer in 2012. B: Your house is on fire, your family is safe, what do Our studio is based in Globe Works, a Grade II* It’s far more interesting now to see my ideas and you save? STYLE GOES BEYOND listed building which was completed in 1825 and thoughts translated via the clever, talented, people NB: Nothing. Everything else that’s important is in my “ is credited as being the first purpose-built cutlery around me :D head or online. The rest is just stuff. factory in the world. Very soon we’re moving to THE AESTHETIC. another amazing historic Grade II* listed building... B: What kind of music do you listen to? NB: Anything that involves robots. Or lots of loud B: Does where you live/work inform you as a person? guitars and no words. IT’S A WAY OF DOING NB: Yes, I think it defines part of who you are. It’s like an accent - you can try and escape it but it’s B: What is your most played track in iTunes? THINGS & HOW YOU an integral part of your character. The location and NB: ‘Two Tribes’ by Frankie Goes To Hollywood. My Catch Human on Facebook at’ Humanstudios’ or interior of a studio has the same effect on design favourite single of all time, delivered at the dawn of on Twitter @HUMANstudios TREAT PEOPLE teams - it informs you collectively and as individuals. remix culture. I have a playlist containing 22 different ” It was a very deliberate decision for Human to be mixes, which lasts for 2 blissful hours. Q&ATHE VAULT /// 06 | THE VAULT | 07 \\\ .
Load more

Recommended publications
  • Grafický Dizajn a Kolaborácia Diplom Ant: Katarína Balážiková Vysoká Škola Výtvarných Umení V Bratislave Vedúci Dipl
    Vysoká škola výtvarných umení v Bratislave Katedra teórie a dejín umenia grafický dizajn a kolaborácia Diplomant: Katarína Balážiková Vedúci diplomovej práce: Doc. PhDr. Z. Kolesár, PhD. Bratislava, akademický rok 2005/06 Vysoká škola výtvarných umení v Bratislave Katedra teórie a dejín umenia grafický dizajn a kolaborácia Diplomant: Katarína Balážiková Vedúci diplomovej práce: Doc. PhDr. Z. Kolesár, PhD. „Jeden je biely, druhý je čierny. Cesta jedného nikdy neskríži cestu druhého. Jeden vie, čo robí druhý. Každý z nich hovorí inou rečou, ale dobre si rozumejú. Jeden rešpektuje druhého. Jeden je dobro, druhý je zlo. Jeden je druhý, ale nikdy nie v rovnakom čase.“ <Dimitri Bruni, Manuel Krebs - NORM> Poďakovanie: Doc.L. Čarnému, Julovi Nagyovi, Palovi Bálikovi, Kristianovi Lukičovi, Branke Čurčič a Olge Hošekovej Some rights reserved. Text je publikovný licenciou Creative Commons, ak nie je uvedené inak. Licencia : Attribution-NonCommercial-Share Alike 2.5 , http://creativecommons.org/licences/by-nc-sa/2.5/ Bratislava, akademický rok 2005/2006 1. Úvod / 4-5 2. Kolaborácia v súvislostiach / 6-19 2.1. Kolaborácia v histórii výtvarného umenia 2.2. Kolaborácia ako sociologický fenomén 2.3. Kolaborácia ako kolektívna inteligencia 2.4. Kolaborácia a individualita 2.5. Kolaborácia a autor 2.6. Kolaborácia a veda 2.7. Kolaborácia ako hra 2.8. Kolaborácia a otvorenosť 2.9. Kolaborácia a jej odvrátená strana 3. Kolaborácia v pojmoch / 20-27 3.1. Forma 3.2. Hierarchia 3.3. Médium 3.4. Model 4. Dejiny kolaborácie v grafickom dizajne / 28-37 5. Kolaborácia a nové médiá / 38-41 6. Záver / 42-43 7. Bibliografia / 44-45 4 =1+1 1.Úvod nosť a exotickosť spojenia tohto pojmu s profesiou grafického dizajnéra aj napriek stále sa rozširujúcej tendencii kapitalizmom núteného dizajnéra-jednica zoskupovať sa pod tlakom konkurencie.
    [Show full text]
  • STS 145 Game Review: Wipeout
    STS 145 Game Review: Wipeout Game Review: Wipeout Yu Ping Hu <[email protected]> 22 February 2001 The Sport of the Future In 2052, anti-gravity racing is all the rage. The F3600 Race League boasts the best anti-grav race craft, the finest pilots, and the fastest action. This is the world Psygnosis created for Wipeout, one of the first games available for the Playstation after the console's 1995 launch. In the first half of the twenty-first century, scientists were developing anti-grav technology. However, due to corporate greed and political maneuvering, government support of this research disappeared, and the researchers ridiculed. Despite this, anti-grav was a total success, solving the world's fuel and transportation problems, and giving rise to what would become the most popular sport of all time. To be honest, the story line for Wipeout is thin, supplied in two pages of "quotes" in the game manual. However, it doesn't matter: it's simply a pretext for high speed racing. Once you start the game, all that matters is flying faster than the other 7 racers, and finishing the three-lap race in first place. This is no mean feat: every race, you start in last place, and need to speed your way to the front of the pack. They apparently don't believe in pole position in 2052. Full credits and publication information are also available. Gameplay Basics The game offers three modes: single race, time trial, and championship race. Single race allows you to play against computer controlled opponents on any of the tracks, while time trial allows you to fly solo against the clock.
    [Show full text]
  • UNIVERSAL MUSIC • Imagine Dragons – Smoke + Mirrors (Fan Pack) • Emile Haynie – We Fall • Misterwives – Our Own Ho
    • Imagine Dragons – Smoke + Mirrors (Fan Pack) • Emile Haynie – We Fall • MisterWives – Our Own House New Releases From Classics And Jazz Inside!!! And more… UNI15-07 UNIVERSAL MUSIC 2450 Victoria Park Ave., Suite 1, Willowdale, Ontario M2J 5H3 Phone: (416) 718.4000 *Artwork shown may not be final UNIVERSAL MUSIC CANADA NEW RELEASE Artist/Title: SHANIA TWAIN // STILL THE ONE: Live From Vegas (BLU-RAY) Cat. #: EVB335029 Price Code: BC Order Due: February 5, 2015 Release Date: March 3, 2015 File: Pop Genre Code: 33 Box Lot: 25 8 01213 35029 2 Artist/Title: SHANIA TWAIN // STILL THE ONE: Live From Vegas (DVD) Cat. #: EV307009 Price Code: KK 8 01213 07009 1 Synopsis The original queen of crossover country-pop and the world’s best-selling female country artist of all time, Shania Twain, stars in her spectacular show “Shania: Still The One”. This ground-breaking residency show was filmed live at The Colosseum at Caesars Palace, Las Vegas where it began its run on December 1st, 2012. “Shania: Still The One” was created by Shania Twain and directed by Raj Kapoor. It takes the audience on a powerful journey through Shania’s biggest hits, country favourites and beloved crossover songs. Glamorous costumes, a 13-piece live band, backing singers and dancers are combined with stunning visuals and live horses to create the ultimate Las Vegas entertainment and to prove that Shania Twain is undoubtedly Still The One! Bonus Features Backstage Pass – an hour long documentary telling the story of the creation and staging of this amazing live show. Key Selling Points • Filmed in high definition and simultaneously released on Blu-ray.
    [Show full text]
  • Ian Anderson Jonathan Barnbrook Jorge Silva Pedro Falcão Sagmeister & Walsh Curator Guta Moura Guedes
    Primeira Pedra First Stone Ian Anderson Jonathan Barnbrook Jorge Silva Pedro Falcão Sagmeister & Walsh Curator Guta Moura Guedes La Triennale di Milano Viale Alemagna 6, 20121 Milano, Italy www.primeirapedra.com 30 March—2 April · 10:30—20:30 4 April · 10:30—00:00 5—9 April · 10:30—22:00 IN PARTNERSHIP COFINANCED BY WITH THE COLLABORATION OF WITH THE HIGH PATRONAGE OF HIS EXCELLENCY THE PRESIDENT OF THE PORTUGUESE REPUBLIC, MARCELO REBELO DE SOUSA The briefing called for a strong emphasis on creativity and innovation, Still Motion Milan to create singular ways of working with stone through graphic design. Primeira Pedra / This field of design has rarely been used in contemporary approaches This exhibition presents a series of original pieces designed by five to stone, having been intensely applied in the past, in structures Credits international graphic design studios, produced using Portuguese stone. such as great monuments and urban, public and private spaces, First Stone Assimagra Still Motion incorporates work by the English designers Ian Anderson both western and oriental. Project Coordination Miguel Goulão, Célia Marques, and Jonathan Barnbrook, the New-York based studio headed by First Stone is an international experimental research programme Daniel Rebelo Austrian designer Stefan Sagmeister and the American Jessica Walsh, Faced with this challenge, the New York based duo Sagmeister & Walsh, exploring the potential of Portuguese Stone, focussing on its uses, Valorpedra and the Portuguese designers Pedro Falcão and Jorge Silva, who have produced communication projects with limitless creativity material properties and distinctive characteristics. The programme Tânia Peças, Nelson Cristo (Technical Consultant) both with studios in Lisbon.
    [Show full text]
  • A Snapshot of the Creative Digital Scene in Sheffield
    A Snapshot of the Creative Digital Scene in Sheffield 1 Foreword Contents: This report has been commissioned jointly by the University of Sheffield and Creative Sheffield to sit alongside the three vibrancy reports relating to Sheffield’s creative industries published in 2016 and supported by Arts Council England. These reports on Music, Beer and Art provided a snapshot and linked creativity, economic Introduction: Creative City, Digital City 2 vibrancy and cross cultural collaborations in the three differing sectors, providing areas of growth and development to prioritise over the next five years. It became Our Approach 3 apparent that the creative digital sector was also a prominent and emergent market where the crossover between sectors was providing fascinating and Sheffield’s Creative Digital Sector 4 interesting parallels. Sheffield’s Creative Sector 4 Sheffield’s Digital Sector 5 This snapshot of the creative digital scene in Sheffield is equally timely as it Sheffield: Creative City, Digital City 5 sits alongside parallel but overlapping information presented regionally by Tech City UK in the Tech Nation 2017 report and the forthcoming Sheffield Sheffield: In their words 6 City Region Digital Action Plan. However, the focus and indeed the findings contained here demonstrate once again that it is the cultural ecology of the Sheffield: a Magnet City 9 city of makers that determines collaboration and creativity; but like all sectors, Attracting young wealth creators 10 requires examination, evidence of growth and strategic questions
    [Show full text]
  • PDF Book • Tarek B. Slimane
    wip3out wip3out wip3out wip3out wip3out wip3out wip3out wip3out wip3out wip3out wip3out wip3out wip3out wip3out wip3out wip3out wip3out wip3out wip3out wip3out wip3out wip3out wip3out wip3out wip3out wip3out wip3out wip3out wip3out wip3out wip3out wip3out wip3out wip3out wip3out wip3out wip3out wip3out _ Introduzione_mondo_Wipeout_ Scheda_tecnica_ Wip3out_ storia_dei_team_ soundtrack_ The_designers_republic_ caillois_system_ zero_ludico_system_ index_ Introduzione_mondo_ wipeout_ Il mito “WipE’out” è nato durante l’av- vento dell’era “gold” dei videogio- chi: la Playstation, nel 1995, sbar- cò sia negli States che in Europa. Il gioco uscì in multipiattaforma: PC MS- DOS, per la Sega Saturn e come uno dei titolo di lancio per la scatola grigia Sony. “What the heck!!!?”, la reazione dei “critici” dei videogames; il gio- co si presenta come il taglio net- to di una katana forgiata dai più grandi maestri del “Nippon”. Unico. Questo racing game anti-gravitaziona- le e con della violenza “sofisticata”, ha folgorato migliaia di appassionati delle corse, del design e della musica. Que- sto futuristico terremoto ha lasciato un segno indelebile. Per la cura grafica e identità del videogame è stato affida- to al prestigioso studio inglese fondato da Ian Anderson: “The Designers Repu- blic”: conosciuti per le cover arts com- missionati dalla label Warp Records, e per il loro stile “maximum-minimal” irriverente e controverso. Quest’ultimi soundtrack che completarono il cerchio due erano entrambi residenti a Shef- frenetico e psichedelico del gioco. field. Con questo primo WipE’out acclamato dalla critica, iniziò un’interessante pe- La scelta musicale diretta verso un’e- riodo videoludico. lettronica e techno underground: CoLD SToRAGE, Leftfield, The Chemi- cal Brothers e Orbital.
    [Show full text]
  • A Brief History of Album Covers Pdf, Epub, Ebook
    A BRIEF HISTORY OF ALBUM COVERS PDF, EPUB, EBOOK Jason Draper,Paul Du Noyer | 384 pages | 01 Aug 2008 | Flame Tree Publishing | 9781847862112 | English | London, United Kingdom A Brief History of Album Covers PDF Book What Can Appear on an Album Artwork? However, whatever form it takes, the majority of the record covers usually consist of the following elements: Album Information The easiest way to instantly get recognizable is to include the stage name pseudonym and album title in the cover design. Already the design of the Nirvana cover for Nevermind caused heated discussions. Naturally, it had a motorcycle erupting out of a graveyard with a giant bat looming over the tombstones in the background. These covers tweaked the formula a bit by printing a ton of broken up text on a flat blue and grey respectively. The rise of merchandising — and the special logos groups adopted — helped turn bands into brands. Many of the best-known Impulse! For listeners, music would never be the same without the album art. The King Cole Trio spent most of the rest of the year on the bestseller list, with many of its singles reaching No. But digitally, this is not needed. And, in such creative concept, album covers are one of the first things that an artist must take into consideration. I did have a bit of input, picking one or two that stood out for me and which I thought should have been included but, in the main, the list was theirs. The concept of album covers design has quite a long history, which dates back to around the s.
    [Show full text]
  • Autechre Basscad,EP Mp3, Flac, Wma
    Autechre Basscad,EP mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic Album: Basscad,EP Country: UK Released: 1994 Style: IDM, Experimental, Ambient MP3 version RAR size: 1702 mb FLAC version RAR size: 1765 mb WMA version RAR size: 1762 mb Rating: 4.5 Votes: 985 Other Formats: XM AAC AUD MP3 MOD DMF AHX Tracklist Hide Credits 1 Basscadet (Bcdtmx) 6:49 Basscadet (Beaumonthannanttwomx) 2 8:14 Remix – Beaumont Hannant Basscadet (Seefeelmx) 3 6:51 Producer [Reproduced By] – Mark CliffordRemix – Seefeel 4 Basscadet (Tazmx) 6:54 5 Basscadet (Basscadubmx) 9:37 Companies, etc. Phonographic Copyright (p) – Warp Records Copyright (c) – Warp Records Made By – PDO, UK – 10274611 Credits Design – The Designers Republic Keraion Prograam 2049* Written-By, Producer, Engineer – Rob Brown , Sean Booth Notes ℗ 1994 Warp Records. © 1994 Warp Records. Autechre Music Systems from Gescom Transcendental. Made in England. Category appears as WAP 44CD on spine. Category appears as WAP.44CD in text (layout) on back and disc. Barcode and Other Identifiers Barcode (Printed): 5 021603 044029 Matrix / Runout: WAP44CD 10274611 01 & MADE IN U.K. BY PDO Mastering SID Code: none Mould SID Code: none Other versions Category Artist Title (Format) Label Category Country Year Wax Trax! TVT 8717-2 Autechre Basscad,EP (CD, EP) Records, TVT TVT 8717-2 US 1994 Records Basscadetmxs (2 Of 3) 10.WAP.44DP Autechre Warp Records 10.WAP.44DP UK 1994 (10") Basscadet EP (5xFile, WAP44CDD Autechre Warp Records WAP44CDD UK Unknown WAV, EP, RE) Basscadet EP (5xFile, WAP44CDD Autechre Warp Records WAP44CDD UK Unknown FLAC, EP, RE) WAP 44CD Autechre Basscad,EP (CD, EP, RE) Warp Records WAP 44CD UK 1994 Comments about Basscad,EP - Autechre furious ox Interesting but none sound as good as the original on Incunabula betelgeuze BCDTMX was the first track by AE that I ever heard....I saw the video for it on an electronic music show here in Canada back in 1997.
    [Show full text]
  • MUV Will Be Open Source Visual Software, Based in Processing 3, for Digital Music Performance Artists
    thesis spring 2018 v11 MUV will be open source visual software, based in Processing 3, for digital music performance artists. Using a clean, simple, and minimal interface, artists will be able to create visuals for screens or projectors that will accompany their live performance without requiring a secondary computer. By creating software that does not require a team of trained visual designers to operate, MUV will allow more musicians to experience and appreciate the world of live visual art. The software will read and understand standardized digital instrument protocols, so that live performers already familiar with today’s music software can seamlessly use MUV. In addition to software, MUV’s collateral will include a print and pdf software manual, infographic poster, and a handout which describes the work and links to the website. A responsive website with free Mac and Windows software download will also be available as well as social media pages for Facebook, Twitter, Instagram, and Vimeo. DJ Victor Calderone, Laidback Luke Bar visuals by Jobe MUV: photo by Stefano performing with Williams - 1 Music Unto Visual 1 Giovanni 2 visuals by Cas Dekker 3 hyperreelist Overview As open source software coded in Processing,* collaterals for MUV will use a retro-futuristic, pro-digital Music Unto Visual (MUV) creates a live visual performance age aesthetic in order for young musicians to gain strong experience for music tech enthusiasts at any level of attachment to its software and mission. A pro-mechanical, expertise. It is especially designed to enable live musicians strictly-digital and future-driven visual language will appeal to compliment the sound they create with interactive to many young digital music creators and performers.
    [Show full text]
  • WINDOWLICKER. Der Ästhetische Paradigmenwechsel Im Musikvideo Durch Electronic Dance Music
    WINDOWLICKER. Der ästhetische Paradigmenwechsel im Musikvideo durch Electronic Dance Music Dissertation zur Erlangung des akademischen Grades doctor philosophiae (Dr. phil.) Eingereicht an der Kultur-, Sozial- und Bildungswissenschaftlichen Fakultät der Humboldt- Universität zu Berlin (im Fachbereich Musik- und Medienwissenschaft) von M.A. Sabine Röthig Präsident der Humboldt-Universität zu Berlin Prof. Dr. Jan-Hendrik Olbertz Dekanin der Philosophischen Fakultät III Prof. Dr. Julia von Blumenthal 1. Gutachter: Prof. Dr. Peter Wicke, Humboldt-Universität zu Berlin 2. Gutachter: Prof. Dr. Holger Schulze, University of Copenhagen Tag der mündlichen Prüfung: 30.11.2015 Abstract Deutsch In der Arbeit wird das Zusammentreffen der aus dem Club kommenden Electronic Dance Music (EDM) mit dem massenmedial konsolidierten Musikvideo untersucht. Diskutiert wird die These eines ästhetischen Paradigmenwechsels, der sich dadurch im Musikvideo vollzieht. Dieser beruht vor allem auf der musikalischen Figur des instrumentalen, modularen Tracks, die sich signifikant von der des Songs unterscheidet. Der originäre Zweck des Musikvideos, den Auftritt des Interpreten auf dem Monitor zu visualisieren, steht also mit dem Track zur Disposition oder wird gar obsolet; das erfordert neue Strategien der Bebilderung. Teil I und II der Arbeit verorten Musikvideo und EDM im wissenschaftlichen Diskurs und versammeln die jeweiligen ästhetischen Attribute. In Teil III wird anhand der Club Visuals die Beziehung von Tracks und Bildern erörtert, um darüber die veränderte Klang-Bild-Konstellation
    [Show full text]
  • The D.A.P. Catalog Fall 2020
    THE D.A.P. CATALOG FALL 2020 Featured Releases 2 Limited Editions 78 Journals 79 CATALOG EDITOR Previously Announced Exhibition Catalogs 80 Thomas Evans DESIGNER Martha Ormiston Fall Highlights 82 COPY WRITING Arthur Cañedo, Megan Ashley DiNoia, Thomas Evans, Emilia Copeland Titus Photography 84 Art 108 ABOVE: Architecture & Design 144 B. Wurtz, various pan paintings. From B. Wurtz: Pan Paintings, published by Hunters Point Press. See page 127. Specialty Books 162 FRONT COVER: John Baldessari, Palm Tree/Seascape, 2010. From John Baldessari, published by Walther König, Art 164 Köln. See page 61. Photography 190 BACK COVER: Feliciano Centurión, Estoy vivo, 1994. From Feliciano Centurión, published by Americas Society. Backlist Highlights 197 See page 127. Index 205 Plus sign indicates that a title is listed on Edelweiss NEED HIGHER RES Gerhard Richter: Landscape The world’s most famous painter focuses on the depiction of natural environments, from sunsets to seascapes to suburban streets Gerhard Richter’s paintings combine photorealism and abstraction in a manner that is completely unique to the German artist. A master of texture, Richter has experimented with different techniques of paint application throughout his career. His hallmark is the illusion of motion blur in his paintings, which are referenced from photographs he himself has taken, obscuring his subjects with gentle brushstrokes or the scrape of a squeegee, softening the edges of his figures to appear as though they had been captured by an unfocused lens. This publication concentrates on the theme of landscape in Richter’s work, a genre to which he has remained faithful for over 60 years, capturing environments from seascapes to countryside.
    [Show full text]
  • Looking Closer 5
    LC5 00.qxd 12/1/06 12:12 PM Page i LOOKING CLOSER 5 edited by: Michael Bierut,William Drenttel, and Steven Heller LC5 00.qxd 4/12/06 10:24 PM Page ii © 2006, Michael Bierut,William Drenttel, and Steven Heller All rights reserved. Copyright under Berne Copyright Convention, Universal Copyright Convention, and Pan-American Copyright Convention. No part of this book may be reproduced, stored in a retrieval system, or transmitted in any form, or by any means, electronic, mechanical, photocopying, recording, or otherwise, without prior permission of the publisher. 11 10 09 08 07 54321 Published by Allworth Press An imprint of Allworth Communications, Inc. 10 East 23rd Street, New York, NY 10010 Cover and book design by Pentagram, New York Page composition/typography by Integra Software Services, Pvt., Ltd., Pondicherry, India Library of Congress Cataloging-in-Publication Data: Looking closer. 5, Critical writings on graphic design / [edited by] Steven Heller, Michael Bierut,William Drenttel. p. cm. Includes bibliographical references and index. ISBN 978-1-58115-471-9 (pbk.) ISBN-10: 1-581-15471-2 1. Commercial art. 2. Graphic arts. I. Heller, Steven. II. Bierut, Michael. III. Drenttel,William. IV. Title: Critical writings on graphic design. NC997.L6334 2007 741.6—dc22 2006036530 Printed in Canada LC5 00.qxd 12/1/06 12:12 PM Page iii contents FOREWORD—EDITORS / vii INTRODUCTION / ix Steven Heller SECTION I: GRAPHIC DESIGN AS SYSTEM THE GRAND UNIFIED THEORY OF NOTHING: DESIGN, THE CULT OF SCIENCE, AND THE LURE OF BIG IDEAS / 3 Randy Nakamura
    [Show full text]