DOCSLIB.ORG

Universidad Autónoma Metropolitana Secretaría De Unidad Coordinación De Servicios De Información Sección De Hemeroteca

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Universidad Autónoma Metropolitana Secretaría De Unidad Coordinación De Servicios De Información Sección De Hemeroteca Universidad Autónoma Metropolitana Secretaría de Unidad Coordinación de Servicios de Información Sección de Hemeroteca La Sección de Hemeroteca cuenta con un acervo hemerográfico de 1,200 títulos de revistas impresas especializadas, de las cuales 56 apoyan la Licenciatura de Diseño de la Comunicación Gráfica. La UAM suscribe 13,000 revistas en formato electrónico disponibles en texto completo que abarcan todas las áreas del conocimiento para apoyar los planes y programas de estudio e investigación de la Universidad, y de las cuales 3,545 apoyan a la Licenciatura de Diseño de la Comunicación Gráfica. Las revistas electrónicas las puede consultar en la siguiente dirección: http://www.bidi.uam.mx/ La Comunidad Universitaria puede consultar las revistas electrónicas a través del portal de la biblioteca digital ya sea dentro de la red UAM o de forma remota con su número económico o matrícula y el NIP de servicios bibliotecarios. REVISTAS IMPRESAS 56 Títulos REVISTAS ELECTRÓNICAS 3,545 Títulos Publicaciones Periódicas Impresas “Diseño de la Comunicación Gráfica” TÍTULO DE LA REVISTA DIVISIÓN 1. ADMINISTRACIÓN Y TECNOLOGÍA PARA EL DISEÑO CYAD 2. ART &DECORATION - LA REVUE DE LA MAISON CYAD 3. ART IN AMERICA CYAD 4. ARTES DE MÉXICO CYAD 5. ARTES GRÁFICAS CYAD 6. ARTES VISUALES CYAD 7. AUTO E DESIGN CYAD 8. AXIS CYAD 9. CASABELLA CYAD 10. CERAMICS MONTHLY CYAD 11. COLOR RESEARCH AND APPLICATION CYAD 12. COMPUTER DESIGN CYAD 13. CRAFTS CYAD 14. CUESTIÓN DE DISEÑO CYAD 15. DECORATION - AMEUBLEMENT CYAD 16. DESIGN ISSUES CYAD 17. DESIGN METHODS- THEORIES RESEARCH EDUCATION AND PRACTICE CYAD 18. DESIGN RECHERCHE CYAD 19. DESIGN STUDIES CYAD 20. DISEÑO UAM CYAD 21. DISEÑO Y SOCIEDAD. REVISTA DE TEORÍA Y ANÁLISIS DEL DISEÑO CYAD 22. DOMUS CYAD 23. ENFASIS PACKAGING CYAD 24. ENLACE, ARQUITECTURA Y DISEÑO CYAD 25. ESPACIO DISEÑO CYAD 26. E'TAPES: DISEÑO Y CULTURA CYAD 27. FORM. THE MARKING OF DESIGN CYAD 28. GRAPHIS CYAD 29. HIGH PERFORMANCE CYAD 30. ID MAGAZINE CYAD 31. ID. INDUSTRIAL DESIGN CYAD 32. INDUSTRIA GRAFICA E ARTES GRAFICAS CYAD 33. INNOVATION CYAD 34. INTERNATIONAL DESIGN CYAD 35. LANDSCAPE CYAD 36. LAPIZ. REVISTA INTERNACIONAL DE ARTE CYAD 37. LINEA GRÁFICA CYAD 38. MÉXICO EN EL ARTE CYAD 39. MM1- UN AÑO DE DISEÑARTE CYAD 40. NOVUM 41. OTTAGONO CYAD 42. PACKAGING CYAD 43. PRINT - AMERICA'S GRAPHIC DESIGN MAGAZINE CYAD 44. PROFESSIONAL PHOTOGRAPHER CYAD 45. PROJETO DESIGN CYAD 46. REDISEÑO CYAD 47. REVISTA DE ARTE CYAD 48. REVISTA DE BELLAS ARTES CYAD 49. STEP BY STEP GRAPHICS CYAD 50. STEP INSIDE DESIGN CYAD 51. TALLER SERVICIO 24 HORAS CYAD 52. TECNOLOGÍA Y DISEÑO CYAD 53. TIEMPO DE DISEÑO CYAD 54. VIEW ON COLOUR CYAD 55. VILLEGIARDINI CYAD 56. WERK BAUEN UND WOHNEN CYAD 8 PERIÓDICOS DE CIRCULACIÓN NACIONAL Y 2 EXTRANJEROS Título Formato Reforma Impreso Excelsior Impreso El Universal Impreso Crónica Impreso La Jornada Impreso El Financiero Impreso El Economista Impreso Milenio Impreso The New York Times Impreso Financial Times Impreso Existe una suscripción en formato electrónico a periódicos extranjeros, se localizan en una plataforma llamada PressReader que permite el acceso ilimitado a más de 3,000 periódicos de 150 países en 60 idiomas. Los periódicos digitales son copias idénticas de las versiones impresas incluyendo gráficas, todo el contenido editorial y hasta los clasificados. De acuerdo a los editores, éste Portal está especialmente diseñado para su uso en dispositivos móviles. REVISTAS ELECTRÓNICAS Acceso en línea: http://www.bidi.uam.mx/ Número de Revistas Electrónicas DISEÑO DE LA COMUNICACIÓN GRÁFICA Artes Decorativas 274 Artes Visuales 1,282 Dibujo, Diseño e Ilustración 176 Escultura 69 Fotografía 706 Medios Impresos 19 Artesanías 169 Pintura 254 Bellas Artes 604 Paisajismo 192 Revistas Electrónicas “Artes Decorativas” 1. 1,000 garment graphics : a comprehensive collection of Artes Decorativas wearable designs (1-59253-488-0, 978-1-59253-488-3) 2. Abanicos (1-78310-203-9, 978-1-78310-203-7) Artes Decorativas 3. Adversarial design (0-262-01738-5, 978-0-262-01738-1) Artes Decorativas 4. Aesthetics of imagination in design (0-262-01906-X, 978-0- Artes Decorativas 262-01906-4) 5. Aesthetics of the Greek Banquet: Images of Wine and Artes Decorativas Ritual (0-691-60405-3, 978-0-691-60405-3) 6. African pottery roulettes past and present : techniques, Artes Decorativas identification and distribution (1-84217-968-3, 978-1- 84217-968-0) 7. American Ceramic Society bulletin (0002-7812) Artes Decorativas 8. American craft (0194-8008) Artes Decorativas 9. American glass review (0002-8649) Artes Decorativas 10. Ancient glass research along the Silk Road (981-283-356-0, Artes Decorativas 978-981-283-356-3) 11. Anni Albers: Selected Writings on Design (0-8195-6447-8, Artes Decorativas 978-0-8195-6447-4) 12. Antique shoppe Artes Decorativas 13. Antiques : the history of an idea (0-8014-4734-8, 978-0- Artes Decorativas 8014-4734-1) 14. Applied clay science (0169-1317) Artes Decorativas 15. Art of Toshiko Takaezu: In the Language of Silence (0-8078- Artes Decorativas 3482-3, 978-0-8078-3482-4) 16. Artifact (London, England) (1749-3463) Artes Decorativas 17. Artistic ambivalence in clay : portraits of pottery, ceramics Artes Decorativas and gender (1-4438-2872-6, 978-1-4438-2872-7) 18. Arts and Crafts (1-84484-622-9, 978-1-84484-622-1) Artes Decorativas 19. Arts education policy review (1063-2913) Artes Decorativas 20. Arts & crafts (1-78042-489-2, 978-1-78042-489-7) Artes Decorativas 21. Athenian potters and painters, Volume II (1-84217-350-2, Artes Decorativas 978-1-84217-350-3) 22. Athenian potters and painters. Volume III (1-78297-663-9, Artes Decorativas 978-1-78297-663-9) 23. AutoCAD 2013 for Dummies (1-118-28112-8, 978-1-118- Artes Decorativas 28112-3) 24. Barnes reports : bed & breakfast inns industry Artes Decorativas 25. Becoming designers : education & influence (1-84150-032- Artes Decorativas 1, 978-1-84150-032-4) 26. Best practices for graphic designers : color works : an Artes Decorativas essential guide to understanding and applying color design principles (1-59253-835-5, 978-1-59253-835-5) 27. Blueprint (London. 1983) (0268-4926) Artes Decorativas 28. British ceramic transactions (0967-9782) Artes Decorativas 29. Bronze age China : style and material (1-4438-2282-5, 978- Artes Decorativas 1-4438-2282-4) 30. Brushes with power : modern politics and the Chinese art of Artes Decorativas calligraphy (0-520-07285-5, 978-0-520-07285-5) 31. Bucchero pottery from southern Etruria (0-521-22316-4, Artes Decorativas 978-0-521-22316-4) 32. Cabinetmaker's Window : Poems (0-8071-5449-0, 978-0- Artes Decorativas 8071-5449-6) 33. Cahiers métiers d'art (1718-9802) Artes Decorativas 34. California design, 1930-1965 : living in a modern way (0- Artes Decorativas 262-01607-9, 978-0-262-01607-0) 35. Canadian interiors (0008-3887) Artes Decorativas 36. Carver's art : crafting meaning from wood (0-8131-0863-2, Artes Decorativas 978-0-8131-0863-6) 37. Ceramic industry (0009-0220) Artes Decorativas 38. Ceramic production in early Hispanic California : craft, Artes Decorativas economy, and trade on the frontier of New Spain (0-8130- 4981-4, 978-0-8130-4981-6) 39. Ceramic review (0144-1825) Artes Decorativas 40. Ceramic sculpture : inspiring techniques (1-57498-300-8, Artes Decorativas 978-1-57498-300-5) 41. Ceramics, art and perception (1035-1841) Artes Decorativas 42. Ceramics monthly (0009-0328) Artes Decorativas 43. Ceramics technical (1324-4175) Artes Decorativas 44. Chinese Antiquities: An Introduction to the Art Market (1- Artes Decorativas 84822-065-0, 978-1-84822-065-2) 45. Chinese writing and calligraphy (0-8248-3364-3, 978-0- Artes Decorativas 8248-3364-0) 46. Chosen path : the ceramic art of Karen Karnes (0-8078- Artes Decorativas 3427-0, 978-0-8078-3427-5) 47. Chroma: Colour in Design, Art and Architecture (3-0346- Artes Decorativas 0092-5, 978-3-0346-0092-7) 48. Claesson Koivisto Rune 1. Architecture - 2. Design (3-0346- Artes Decorativas 0946-9, 978-3-0346-0946-3) 49. Coalescence of styles : the ethnic heritage of St. John River Artes Decorativas Valley regional furniture, 1763-1851 (0-7735-2056-2, 978-0- 7735-2056-1) 50. CoDesign (1571-0882) Artes Decorativas 51. Collection Coverdale la construction d'un patrimoine Artes Decorativas national (2-7637-8929-3, 978-2-7637-8929-3) 52. Color and design (1-84788-951-4, 978-1-84788-951-5) Artes Decorativas 53. Color, space, and style : all the details interior designers Artes Decorativas need to know but can never find (1-59253-227-6, 978-1- 59253-227-8) 54. Colour Design: Theories and Application (1-84569-972-6, Artes Decorativas 978-1-84569-972-7) 55. Connecticut needlework : women, art, and family, 1740- Artes Decorativas 1840 (1-881264-11-4, 978-1-881264-11-8) 56. Conservation and Restoration of Glass (0-7506-4341-2, 978- Artes Decorativas 0-7506-4341-2) 57. Contemporary American jewelry design (0-442-00362-5, Artes Decorativas 978-0-442-00362-3) 58. Corinthian and Attic vases in the Detroit Institute of Arts : Artes Decorativas geometric, black-figure, and red-figure (90-04-16408-1, 978- 90-04-16408-6) 59. Costume jewelry industry yearbook Artes Decorativas 60. Craft arts international (1038-846X) Artes Decorativas 61. Craft research Artes Decorativas 62. Crafting the nation in colonial India (0-230-61267-9, 978-0- Artes Decorativas 230-61267-9) 63. Craftsman of the Cumberlands : tradition & creativity (0- Artes Decorativas 8131-0183-2, 978-0-8131-0183-5) 64. Creating desired futures : how design thinking innovates Artes Decorativas business (3-0346-0368-1, 978-3-0346-0368-3) 65. Crete in transition : pottery styles and island history in the Artes Decorativas archaic and classical periods (0-87661-545-0, 978-0-87661- 545-4) 66.
Load more

Recommended publications
  • The Uses of Animation 1
    The Uses of Animation 1 1 The Uses of Animation ANIMATION Animation is the process of making the illusion of motion and change by means of the rapid display of a sequence of static images that minimally differ from each other. The illusion—as in motion pictures in general—is thought to rely on the phi phenomenon. Animators are artists who specialize in the creation of animation. Animation can be recorded with either analogue media, a flip book, motion picture film, video tape,digital media, including formats with animated GIF, Flash animation and digital video. To display animation, a digital camera, computer, or projector are used along with new technologies that are produced. Animation creation methods include the traditional animation creation method and those involving stop motion animation of two and three-dimensional objects, paper cutouts, puppets and clay figures. Images are displayed in a rapid succession, usually 24, 25, 30, or 60 frames per second. THE MOST COMMON USES OF ANIMATION Cartoons The most common use of animation, and perhaps the origin of it, is cartoons. Cartoons appear all the time on television and the cinema and can be used for entertainment, advertising, 2 Aspects of Animation: Steps to Learn Animated Cartoons presentations and many more applications that are only limited by the imagination of the designer. The most important factor about making cartoons on a computer is reusability and flexibility. The system that will actually do the animation needs to be such that all the actions that are going to be performed can be repeated easily, without much fuss from the side of the animator.
    [Show full text]
  • Download Article (PDF)
    Advances in Social Science, Education and Humanities Research, volume 341 5th International Conference on Arts, Design and Contemporary Education (ICADCE 2019) Protection and Development of the Intangible Cultural Heritage of Lingnan Embroidery from the Perspective of Maritime Silk Road Shujun Zheng Fuzhou University of International Studies and Trade Fuzhou, China 350001 Abstract—In the 21st century, people of insight in the Now, it has been endowed with new era connotation by this society called for saving and protecting the dying Chaozhou new grand idea. Lingnan area, which is rich in intangible embroidery techniques, and Chaozhou embroidery was cultural heritage resources of Chaozhou embroidery, lacks included in the first national intangible cultural heritage list. long-term development strategy. Lingnan area related to the However, the protection of intangible cultural heritage has maritime silk route is rich in intangible cultural heritage different views in the academic circle, and specific protection resources, which has a long history. Therefore, it is important projects of intangible cultural heritage have their bases. to take this opportunity to set up the Lingnan clan Although fashionable embroidery is highly sought after in the embroidery "Hester" brand, and the Lingnan area Maritime market in recent years, it is difficult to conceal the Silk Road and pass down depth of resources, strengthen embarrassment of the industry development. The output of Lingnan area through cultural construction of intangible Chaozhou embroidery is extremely limited, and the quantity of remaining products is not large. The market still has a large cultural heritage protection, and promote the development demand for Chaozhou embroidery products which generally and growth of the third industry, such as embroidery.
    [Show full text]
  • Giovanna Belico Cária Guimarães O Boneco – Personagem
    Giovanna Belico Cária Guimarães O Boneco – Personagem: Caracterização do personagem de animação Stop-motion Universidade Federal de Minas Gerais Escola de Belas Artes Mestrado em Artes 2012 1 Giovanna Belico Cária Guimarães O Boneco – Personagem: Caracterização do personagem de animação Stop-motion Dissertação apresentada ao Programa de Pós-Graduação em Artes da Escola de Belas Artes da Universidade Federal de Minas Gerais, como requisito parcial à obtenção do título de Mestre em Artes. Área de Concentração: Arte e Tecnologia da Imagem. Orientador: Maurício Silva Gino Belo Horizonte Escola de Belas Artes /UFMG 2012 2 Ficha catalográfica (modelo) Guimarães, Giovanna Belico Cária, 1975. O Boneco-Personagem: caracterização do personagem de animação stop-motion / Giovanna Belico Cária Guimarães. – 2012 102 f.: il. – Orientador: Maurício Silva Gino Dissertação apresentada ao Programa de Pós-Graduação em Artes da Escola de Belas Artes da Universidade Federal de Minas Gerais, como requisito parcial à obtenção do título de Mestre em Artes. 1. Boneco – Personagem - stop-motion - Arte – Cinema de Animação 2. Escultura - Teatro I. Gino, Maurício Silva, 1966 - III. Universidade Federal de Minas Gerais. Escola de Belas Artes IV. Título. CDD: CDU: código p/BIB/EBA 3 AGRADECIMENTOS Ao professor Francisco Marinho, com quem iniciei esse projeto. Ao professor Maurício Gino, pela orientação e apoio ao longo de todo o processo, sobretudo durante as (tantas) crises. Ao professor José Américo (in memorian) que contribuiu com suas sugestões e apontamentos. Aos professores Heitor Capuzzo e Ana Lúcia Andrade, que me contagiaram com o encanto pelo cinema e pelo stop-motion. A todo o apoio recebido da Escola de Belas Artes, da UFMG e da CAPES, fundamental para a conclusão desse projeto.
    [Show full text]
  • THE SLOW HANDS LAB the Slow Hands’ Lab
    THE SLOW HANDS LAB The Slow Hands’ Lab A Thesis Project by Jiayi Dong Class of 2019 MFA, Design for Social Innovation School of Visual Arts Thesis Advisor Archie Lee Coates IV TABLE OF CONTENT TABLE OF CONTENT INTRODUCTION 3 DESIGN PROCESS 9 INTERVENTION 31 LEARNINGS 45 LOOKING FORWARD 47 ACKNOWLEDGEMENT 49 INTRODUCTION Suzhou embroidery (Su embroidery for short) was originated in Suzhou, China and later on spread to the neighboring areas such as Nantong and Wuxi in Jiangsu province. These areas, locat- THE HISTORY ed in the lower reach of Youngest River, have been famous for their high quality silk produc- OF SU EMBROIDERY ART tions for centuries. The fertile soil, mild tempera- ture, and booming production of silk fabric and thread naturally nourished the burgeoning and flourishing of Suzhou embroidery. According to "Shuo Yuan", written by Liu Xiang during the Western Han Dynasty (206 BC - 24 AD), the country of Wu (current Suzhou area) has started to use embroidery to decorate garments over 2,000 years ago. As described in the book of "Secret Treasures of Qing," the Suzhou embroi- ders in Song Dynasty (960-1279) used "needles that could be as thin as the hair. During the Ming Dynasty (1368-1644), Suzhou has become a thriving center for silk industries and handicrafts. Artists in Wu area, represented by Tang Yin (Bohu) and Shen Zhou, helped the further development of Suzhou embroidery. Embroiders reproduced their paintings using needles. These works were so vivid and elegant as to be called "paintings by needle" or "unmatch- able even by the nature." Since then, Suzhou embroidery evolved a style of its own in needle- work, color plan and pattern.
    [Show full text]
  • Surrealist Sources of Eastern European Animation Film
    BALTIC SCREEN MEDIA REVIEW 2013 / VOLUME 1 / ARTICLE Article Surrealist Sources of Eastern European Animation Film ÜLO PIKKOV, Estonian Academy of Arts; email: [email protected] 28 DOI: 10.1515/bsmr-2015-0003 BALTIC SCREEN MEDIA REVIEW 2013 / VOLUME 1 / ARTICLE ABSTRACT This article investigates the relationship between surreal- ism and animation fi lm, attempting to establish the char- acteristic features of surrealist animation fi lm and to deter- mine an approach for identifying them. Drawing on the interviews conducted during the research, I will also strive to chart the terrain of contemporary surrealist animation fi lm and its authors, most of who work in Eastern Europe. My principal aim is to establish why surrealism enjoyed such relevance and vitality in post-World War II Eastern Europe. I will conclude that the popularity of surrealist animation fi lm in Eastern Europe can be seen as a continu- ation of a tradition (Prague was an important centre of surrealism during the interwar period), as well as an act of protest against the socialist realist paradigm of the Soviet period. INTRODUCTION ing also in sight the spatiotemporal context Surrealism in animation fi lm has been of production. an under-researched fi eld. While several It must be established from the out- monographs have been written on authors set that there are many ways to understand whose work is related to surrealism (Jan and interpret the notion of “surrealist ani- Švankmajer, Brothers Quay, Priit Pärn, Raoul mation fi lm”. In everyday use, “surreal” often Servais and many others), no broader stud- stands for something obscure and incom- ies on the matter exist.
    [Show full text]
  • Projected Trends in Chinese Consumption Women As Half the Sky (Photo by Bapbtepmchana, USSR) Represents the Labour Strength of Women Who Make up Half the Workforce
    A CHINESE WEEKLY OF NEWS AND VIEWS Vol. 31, No. 40 October 3-9, 1988 Projected Trends in Chinese Consumption Women as Half the Sky (photo by Bapbtepmchana, USSR) represents the labour strength of women who make up half the workforce. The photo is selected from the International Photo Exhibition, China Through Foreigners'Eyes. by Zhang Yanbo BeijingR^vir HIGHLIGHTS OF THE WEEK VOL. 31. NO. 40 OCT. .Vy, Future Development of Chinese Consumption CONTENTS • Despite being labelled an underdeveloped country, China's consumption of basic commodities in 1986 was already way NOTES FROM THE EDITORS 4 ahead of 1990 estimated averages for all developing countries. I'actory I.)ircLtors" Worries Based on the level of its current productive forces, China should EVENTS/TRENDS 5-9 now diversify its patterns of consumption (p. 20). Zhao: China's Future r<eforms To Focito on Three Pioblcm.s Technology C'oine-, Before Loans Factory Directors' Worries Governmcnl Sees a Brain Drain Taiwan 'Legisiaior' Visits for • At a recent forum organized by the China Enterprise Unity Association to discuss improvements in the economic Train Dri\ers Sentenced environment, factory directors and managers called for the Begging Becomes Popular elimination of "the three pests" — officials reselling goods in Profcsion short supply at high prices for exorbitant profits, indiscriminate China Trains High-level and arbitrary charges, and interference in enterprises' decision- ~ Judges making powers.' The State Council has ordered the banning of Weekly Chronicle (September "official racketeering" and public opinion demands 19-25) punishment (p. 4). WTERHAflONAL 10-13 United Naiions: 4.^rd Session Cilina Promotes Its Traditional Arts Laces Challenges US-L;SSR: IDelente Reflects • Ninety-six Chinese artists and craftsmen have been given the Hconomic Pressures honourary title of "Master of Chinese Art" as part of a Laos: Foreign Trade Ties government campaign to foster traditional arts and crafts (p.
    [Show full text]
  • On the Topics and Style of Soviet Animated Films
    BALTIC SCREEN MEDIA REVIEW 2016 / VOLUME 4 / ARTICLE Article On the Topics and Style of Soviet Animated Films ÜLO PIKKOV, Estonian Academy of Arts; email: [email protected] 16 DOI: 10.1515/bsmr-2017-0002 BALTIC SCREEN MEDIA REVIEW 2016 / VOLUME 4 / ARTICLE ABSTRACT This article provides a survey of Soviet animation and analyses the thematic and stylistic course of its develop- ment. Soviet animated film emerged and materialised in synch with the fluctuations of the region’s political climate and was directly shaped by it. A number of trends and currents of Soviet animation also pertain to other Eastern European countries. After all, Eastern Europe constituted an integrated cultural space that functioned as a single market for the films produced across it by filmmakers who interacted in a professional regional network of film education, events, festivals, publications etc. Initially experimental, post-revolutionary Russian ani- mation soon fell under the sway of the Socialist Realist discourse, along with the rest of Soviet art, and quickly crystallised as a didactic genre for children. Disney’s para- digm became its major source of inspiration both in terms of visual style and thematic scope, despite the fact that Soviet Union was regarded as the ideological opposite of the Western way of life and mindset. The Soviet animation industry was spread across different studios and republics that adopted slightly varied production practices and tolerated different degrees of artistic freedom. Studios in the smaller republics, such as Estonia, Latvia and Lithuania in particular, stood out for making films that were more ideologically complicated than those produced in Moscow.
    [Show full text]
  • Shifting Sands: Contemporary Trends in Powder Animation
    Shifting Sands: Contemporary trends in powder animation Corrie Francis Parks1 1 University of Maryland, Baltimore Country, Visual Arts, 1000 Hilltop Circle, Baltimore, MD 21228, USA [email protected] Abstract. Backlit animation capitalizes on the purity of light pouring directly into the camera and no technique maximizes the nuances of that light better than sand animation. This paper will discuss the historical variations on sand animation, the physical properties of the material that result in typical movement patterns, and the contemporary evolution of the technique that break from the historical trends, due to the adoption of digital capture and compositing. Keywords: sand animation, hybrid animation, stopmotion, fluid frames 1 Introduction The mysterious art of powder animation is a technique to which I have deep personal connections as a practitioner, and one which represents the broader global trends of hybridization and handcrafted process in the animation field. This adoption of hybridity has brought a renewed interest to the technique, both for animator and for audiences. In this paper, I will give a brief overview of the technique and the common traits seen in historical and contemporary films that find their source in the unique properties of powdered material such as sand, salt, coffee and other dusts. Then I will discuss contemporary trends in the practice of this technique, based on new technology and accessibility. On occasion, I will speak generally about “sand animation” since this is the most common material in use, but the observations and conclusions apply to all powders used under the camera. The source of this research is from my own practice as an independent filmmaker cross-referenced with historical investigation and interviews with contemporary artists practicing powder animation techniques.
    [Show full text]
  • The Inheritance and Dissemination of Suzhou Embroidery
    2019/5/17 Youth Impact Communication-Suzhou Experimental High School AP Center-Team 1 Youth Impact Communication The Inheritance And Dissemination Of Suzhou Embroidery Yijie Ding, Suzhou Experimental High School AP Center YUN FEI QUAN, Suzhou Experimental High School AP Center Zhouhang GUO , Suzhou Experimental High School AP Center Tianyi Guo, Suzhou Experimental High School AP Center QI LU, Suzhou Experimental High School AP Center Xun Gu, Suzhou Experimental High School AP Center Yueyao Hu, Suzhou Experimental High School AP Center QING WEI ZHANG, Suzhou Experimental High School AP Center http://project.learningfirst.cn/#/toPrint?project_id=5bac5c11a4640b0f358b4595&account_id=59c1e3b909f77851278b4598&team_code=1 1/24 2019/5/17 Youth Impact Communication-Suzhou Experimental High School AP Center-Team 1 Summary Based on the topic of the Inheritance and Dissemination of Suzhou Embroidery, the team mainly focuses on two parts: inheritance and dissemination of Suzhou Embroidery. The team first made an assumption that citizens in Suzhou, one of the cities in Jiangsu Province, China, do not have a clear understanding of Suzhou Embroidery. To testify this assumption, the team made a sample survey in Suzhou; it turns out that people in Suzhou are lacked the knowledge of Suzhou Embroidery and some of them even misunderstand Suzhou Embroidery. To create impact, the team starts its action by setting up a special column about Suzhou Embroidery on a WeChat Official Account called Baozaoalan. So far, the team has released 10 articles about Suzhou Embroidery on the account, including History of Suzhou Embroidery, Suzhou Embroidery Classification, etc. The team also made a documentary about Suzhou Embroidery to stir up the interests of the audience.
    [Show full text]
  • Theis from Wanping797142.Pdf
    RHYME CHINOISERIE Chinese Traditional Patterns and Handicraft in Contemporary Bag Design ZHONG WANPING “History doesn’t repeat itself, but it does rhyme.” — Mark Twain CONTENTS 4 Introduction Aesthetic analysis of traditional Chinese pattern 18 1.1 Theory and practice of the pattern 22 1.2 Aesthetic analysis of Chinese pattern 42 1.3 Chinese patterns in the contemporary design History and development of traditional Chinese handicraft 74 2.1 The Arts and Crafts Movement 86 2.2 Chinese arts and traditional crafts 93 2.3 Chinese handicraft in the contemporary design Contemporary aesthetic of bag design 101 3.1 Handbags from the West and China 107 3.2 Contemporary lifestyle and bag design 117 3.3 Chinese traditional patterns and crafts in bag design Materials and technologies of Eco-fashion 137 4.1 Eco-fashion 142 4.2 Eco-friendly materials 156 4.3 Laser cutting Projects of Rhyme Chinoiserie 162 5.1 Project1 brief 169 5.2 The moodboard and the metaprogetto phase 175 5.3 Line board and Technical drawings 212 5.4 Project2 214 5.5 Line board and Technical drawings 222 Bibliography and website Introduction Chinoiserie is a French term that refers to a European artistic style that began in the late 17th and throughout the 18th Centuries in which objects and decoration are inspired by Chinese design. Several hundreds years passed, Chinese patterns and traditional handcrafts (Embroidery, Paper-cutting, Origami, Chinese knot...) are more and more applied in all kinds of products by luxury fashion brands, once again. Compared to the 18th century, nowadays it is much easier to communicate different culture concept through sharing media all over the world .
    [Show full text]
  • Suzhou's Silk Industry Suzhou Is Renowned for High Quality Silk
    Suzhou’s Silk Industry Suzhou is renowned for high quality silk production, first serving as center of the silk industry during the Tang (618 – 907) and Song Dynasties (960 – 1279). Today, visitors to Suzhou can create their own silk road by visiting iconic locations across the city that provide an authentic look into the important fiber that has been woven into China’s history for centuries. Must-visit attractions include the Suzhou Silk Museum, which traces the path of silk from its discovery to present day. Visitors to the museum’s Silk Weaving Workshop can view ancient human-powered looms that demonstrate traditional silk-weaving methods. At the No.1 Silk Factory, travelers gain insight on how established practices of harvesting silk have blended with modern methods. Workers still unravel the cocoons by hand as delicately as they did 1,000 years ago. Suzhou silk is used in the celebrated Su embroidery, which can be identified by its vibrant depictions of animals, landscapes, and flowers. The Suzhou Embroidery Art Museum provides visitors with understanding of how Su embroidery has developed over time while showcasing craftsmanship through live demonstrations. Suzhou’s silk is the most important element of the city’s wedding dress industry. Suzhou is home to more than 1,000 wedding-related stores, and nearly 80 percent of the world’s wedding dresses are produced in the city. Brides-to-be can shop in Suzhou for wholesale prices, with gowns starting as low as $75US. For more information on Suzhou please visit www.TravelToSuzhou.com or follow Suzhou Tourism on social media at Instagram, Twitter, and Facebook at @VisitSuzhou.
    [Show full text]
  • Embroidery Work - Kalady, Kerala Art of Decorating Fabric by Prof
    D’source 1 Digital Learning Environment for Design - www.dsource.in Design Resource Embroidery Work - Kalady, Kerala Art of Decorating Fabric by Prof. Bibhudutta Baral, Divyadarshan C. S. and Rakshitha NID Campus, Bengaluru Source: http://www.dsource.in/resource/embroi- dery-work-kalady-kerala 1. Introduction 2. Tools and Raw Materials 3. Making Process 4. Products 5. Video 6. Contact Details D’source 2 Digital Learning Environment for Design - www.dsource.in Design Resource Introduction Embroidery Work - Kalady, Embroidery is the handicraft of decorating fabric with needle and thread. It is most often used on dresses, caps, Kerala coats, blankets and etc. There are various techniques of embroidery, which are the basic characteristics for stitch- Art of Decorating Fabric ing today. The derivation of the word ‘Embroidery’ comes from the Anglo-Saxon word for “edge” but the tech- by nique of embroidery was being used long before the word discovery. The origin of embroidery dates back to the Prof. Bibhudutta Baral, Divyadarshan C. S. and ancient China during the 5th – 3rd BC. ‘Suzhou embroidery’ is one among the famous ancient Chinese embroi- Rakshitha deries. The artists of Suzhou embroidery took the opportunity and started to seek the innovation in the field of NID Campus, Bengaluru embroidery under the influence of western civilization during the early 20th century. A profound Suzhou embroi- dery artist by name ‘Shen Yunzhi’ of those days incorporated the properties of portraits in oil-painting into her embroidery work and crafted a new style called “realistic embroidery”. Later her works on portrait embroideries like “Portrait of Italian Queen” that was sent to Italy and the “Portrait of Jesus” exhibited at US received great Source: acclaim and invoked the sensation everywhere.
    [Show full text]