Visual Bank of Associations

No cérebro o Córtex Visual processa os estímulos visuais captados pela retina. Tudo o que vemos é processado. O visual é cruzado e associado. People associate. Try to decode. FBAUL 14|15 Maria Inês Silva

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Proj.01 | Referência Gif

https://www.behance.net/gallery/8452481/Portfolio

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Proj.01 | Série

http://www.taschen.com/pages/en/catalogue/lifestyle/all/04618/facts.nyt_36_hours_world_3_36_365.htm

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Proj.01 | Six Dada Manifestos

https://www.behance.net/gallery/24862427/Six-Dada-Manifestos

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Proj.02 | [re]titled

Com Carolina Novais // Inês Silva // Inês Pires

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Proj 2 | Making of

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Proj.02 | [re]titled

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Praia: Appropriation and Zeal of Collective Spaces, by Gabriel Finotti

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Complemento impresso | Referência

Project by Solo, Editorial Design

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NEWWORK

NEWWORK MAGAZINE, Issue 1

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Proj.02 | Editorial

As we shall see, the issue of appropriation has been the source of considerable debate within design, just as it has within art.

-Rick Poynor

[re]titled is a special edition about appropriation, that explores the work of four artists and four designers, whose work was developed between the 70’s and the 90’s. The publication’s title - [re]titled - comes from the concept of appropriation and from the relations among authors.

This special issue comprehends as well an idea of dissemination. By being able to exist autonomously, the edition suggests the appropriation of each reader. In this sense, the edition works as a vehicle to communicate and spread the idea of appropriation explored by the selected authors.

This idea is also exhibited in the digital platform, through the hashtag #retitlededition, which reinforces the dissemination character of [re]titled and allows to gather everything that is shared with this reference. The reader has access to this platform due to the QR code displayed at the end of the publication or through the link retitlededition.tumblr.com.

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La Cantatrice Chauve - Robert Massin

La Cantatrice Chauve d’Eugene Ionesco, Robert Massin, 1964. À semelhança da linguagem simbólica de Faucheux, Massin associa a cada personagem, uma fonte tipográfica.

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ROBERT MASSIN

“I wanted to make books, like my father. He was a sculptor-engraver and made books of marble. I wan- ted to make books of paper. Looking him working with letters, from the age of 6, I started to make my own small booklets, as many children do. Eighty years later I still do books (sometimes concept projects) working from ten to twelve hours a day.”

“good book cover should be read by at a first glance, like in a blink. Without unnecessary ornaments. As the architect Auguste Perret said, all that is decorative is not needed.”

“akin to an art work, a sculpture, a vase, a piece of furni- ture, and with a life independent of its textual content.”

“no longer this rectangular parallelepiped as thick and inert as a brick, but something living; while printing was usually thought of as existing on the flat surface, we made a point of the book’s being three-dimensional.”

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Les Epiphanies - PIERRE FAUCHEUX

Substituindo os nomes das personagens por um símbolo correspondente, Pierre Faucheux introduz uma linguagem simbólica e pictográfica. O livro afasta-se, assim, da sua representação tradicional através da sua relação e articulação com os grafis- mos representativos.

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PIERRE FAUCHEUX

“A book can have an integrated personality - its outward face can correspond to its inner content.”

“It is a matter of striking a perfect balance between the text as words, and the meaning which the reader will give to the printed text: if different relationships governing the parts and the whole are brought together, we will make a new object for each new work.”

“Innovating Everyday”

“Faced with this, I picked up the telephone one evening and told them: first, that I was absolutely confident that I’d given them what they needed; secondly, that I was not going to prepare any further designs; and thirdly, that unless they replied quickly I wanted the designs back.”

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Ex.02 | Fase 02

GIF | 

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Ex. 02 | Memória descritiva

No exercício 2 decidi abordar o tema “Nothing happens out of context” dando ênfase à frase "Few things we make have no precedent”, presente no texto de Chris Pullman. Esta frase captou a minha atenção porque no meu entender descreve a vertente do design enquanto disciplina que cria regras, símbolos e convenções. O designer projecta objectos e grafismos que irão condicionar o pensamento sobre uma temática no futuro. Recorri à referência do ISOTYPE (pictogramas desenhados por Gerd Arntz e desenvolvidos por Otto Neurath). A simbologia criada no ISOTYPE estabeleceu convenções através da simplificação que torna a imagem num símbolo e possibilita uma visualização de dados mais eficaz que moldou o entendimento do público que os interpreta. Como retórica tentei estabelecer uma analogia recorrendo também à repetição que permitiu aludir à página enquanto gráfico de componente quase estatística. 

O cartaz da fase 01 pretende fazer uma referência mais directa ao ISOTYPE enquanto que o gif da fase 02 centra-se apenas no tema “Nothing happens out of context”, no qual temos o quadrado como forma geométrica representada em situações diferentes que mostram as possíveis utilizações para uma mesma forma. A fase 02 não tendo uma ligação imediata ao cartaz usa a forma para construir a narrativa e mantém os valores cromáticos da fase 01. 

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Ex.02 | Fase 01

Few things we make have no precedent | Cartaz