sábado, 26 de fevereiro de 2011

O que é um cérebro eletrônico?

What is the Electric Brain?


The graphic means "computer" in Chinese. Actually, it consists of two characters that literally mean "electric brain," which the Chinese read as "computer." (read more at http://www.halfhill.com/ebrain.html)

Yann Sérandour

Inside The White Cube. Édition palimpseste, 2009
French edition. 26,7 x 26,7 cm (softcover) 84 pages (45 b/w ill.)

This publication functions as a palimpsest: constructed on the reprint of the first French translation of Brian O'Doherty's influential book Inside the White Cube (published by JRP Ringier in the series Lectures Maison Rouge), it superimposes reproductions and commentaries of Yann Sérandour's work.





Title: Yann Sérandour. Inside the White Cube
Subtitle: Overprinted Edition (English) / Édition palimpseste (French)
Publisher : JRP|Ringier, Zurich
Published as part of the series Christoph Keller Editions
Editors: Yann Sérandour, Jérôme Saint-Loubert Bié
Descriptions of works by Yann Sérandour, design and introductory text by Jérôme Saint-Loubert Bié.
Size: 26,7 x 26,7 cm [10 1/2 x 10 1/2 in]
Number of pages: 84 pages + cover
Printing offset : one run of black, overprinted with white ink + one spot colour
Softcover
English edition overprinted in green (see pictures) and French edition overprinted in violet
Number of copies: 600 (English) + 400 (French)
Was awarded the prize “The Most Beautiful Swiss Books 2009”





O livro Inside the White Cube, do artista suíço Yann Sérandour é literalmente um palimpsesto, em que reproduções e comentários sobre a obra do artista são sobrepostos à reimpressão da primeira tradução francesa do influente livro de Brian O’Doherty. Com o subtítulo “Overprinted Edition” em inglês, e “Edition Palimpseste” em francês, o livro foi publicado simultaneamente em dois idiomas. Sobre as páginas impressas em offset na cor preta, foi realizada a sobreimpressão de um quadrado branco (um trocadilho com o título), sobreposto com textos e imagens em verde. O processo de sobreimpressão modifica a cor que foi impressa primeiro, as camadas de tinta são evidentes, de modo que é possivel ler simultaneamente os textos que estão em diferentes camadas, como nos antigos manuscritos raspados em que o texto antigo permanecia visível. Cada página do livro de Sérandour corresponde a uma seção de uma folha em que foram impressas quatro páginas da edição francesa do livro de O’Doherty. O formato da publicação se baseia na revista Artforum, onde o ensaio de O’Doherty foi publicado pela primeira vez (a capa da referida edição da revista aparece como imagem de fundo na capa deste livro), e o quadrado em branco que aparece na capa e em todas as páginas tem o mesmo tamanho da primeira edição em livro desse texto. Concebido em colaboração com Jérôme Saint-Loubert Bié, o livro apresenta uma seleção de projetos de Yann Sérandour que derivam de outros livros e outros autores, ou seja, obras que têm a apropriação como tema ou como método de trabalho. O layout, incluindo os tipos Méridien desenhados pelo tipógrafo Adrian Frutiger e usados no título e no subtítulo, cita diretamente o design de Jack Stauffacher para a primeira edição do livro Inside the White Cube.

sexta-feira, 25 de fevereiro de 2011

Dave Wakefield

 d is for duck

The medium and use of wood and metal type is unique in that it offers another dimension or secondary layer to the physical form. That of texture. It’s the intelligent use of this texture that will add greater potency to the solution. Just the two forms of D create the unmistakable image. Careful overprinting leaves the lowercase form shy of solid on the crossover, and at the same time feathery soft. A result of the underlaying and overlaying technique known as ‘make-ready’. A 30-line Bold Latin capital was chosen for its heavy, bulbous, outward-curving form, and unique serifs that would pronounce the tail feathers and fill the counter to make the eye. Counterpoint, in the choice of a Neue-Haas Grotesk lowercase letter pit against the nineteenth-century Latin to strengthen the modernity and essential property to educate.
 


via http://almostextinct.wordpress.com/2010/12/09/introduction/

quinta-feira, 24 de fevereiro de 2011

Anthony Campuzano




Hope For The Memories, 2003
Colored pencil on poster board
22 1/2" by 28 1/2", Unique
Courtesy Fleisher/Ollman Gallery
fleisher-ollmangallery.com

segunda-feira, 21 de fevereiro de 2011

Nicolás Paris




 DOBLE FAZ. Ediciones La Silueta. 2008
140 páginas
21,5 x 27,5 cm


Edición facsimilar del proyecto Doblefaz, dibujos que se transforman en las manos del observador con el simple pliegue de una página.
Para obtener este resultado se usó un papel similar al de los originales impreso con una tinta especial generando la textura del grafito del dibujo casi directamente sobre las páginas del libro y los dobleces de todas las páginas fueron hechos a mano.
Nicolás Paris (Bogotá, 1977)


Mais imagens no flickr

Marcas de impressores






some printer's marks, via designobserver

terça-feira, 15 de fevereiro de 2011

Paul Cox





Abstract Alphabet

Cada letra foi substituída por um desenho, e em cada página tem escrito o nome de um animal
http://www.chroniclebooks.com/KidsGuides/Guide11/29405r1.html

Mario Diacono

JCT 1, a MeTrica n'ABOOlira.
San Francisco, Futura Press, 1969 25 x 19cm, [32]pp.

Apropriação do poema-livro de Mallarmé, Um Lance de Dados.

Augusto de Campos


O poeta comemora 80 anos, e recebe uma homenagem na revista Errática. Acima, logotipo feito pelo Erthos Albino de Sousa, que foi editor da revista Código.

segunda-feira, 14 de fevereiro de 2011

Ex Libris

Adam Baumgold Gallery presents the exhibition “Ex Libris” from January 26 through February 26, 2011. The exhibition will focus on art about books and will feature 28 artists: Ed Ruscha, Chris Ware, Maira Kalman, Chip Kidd, Seth, Roz Chast, Robin Tewes, Ruth Marten, Richard Prince, David Hockney, Jean Lowe, Cyrilla Mozenter, Charles Burns, Richard Baker, András Böröcz, Vivienne Koorland, Saul Steinberg, Jennie Ottinger, Nan Swid, Bette Blank, Josephine Halvorson, Molly Springfield, Rebecca Bird, Ryan Brown, Tom Burckhardt, Alice Attie, Renée French and Adam Dant.
Among the works included in the exhibition are Tom Burckhardt’s large “Bookshelf,” 2005 from his exhibition “Full Stop” at the Aldrich Museum – a faux cardboard bookshelf that showcases the artist’s eclectic book collection and simultaneously honors his influences, and Ed Ruscha’s “1984,” 1967 a print whose typography slyly references Orwell’s book with that title. Also featured in the exhibition are many of Ruscha’s early artist’s books and two cover drawings by Chris Ware of his ACME Novelty Library books numbers 16 and 17.


“Ex Libris” also includes Josephine Halvorson’s painting “Many Books,” 2009 that depicts three anonymous stacks of books and Richard Prince’s art book that juxtaposes a drawing of a girl with his drawing interpretation of a ‘DeKooningesque’ woman. Also featured will be a group of Chip Kidd’s actual book covers and book prototypes – master works in graphic design. Jennie Ottinger imparts her unique style in her mini paintings of classic book covers with her own humorous summary of the book’s plotlines within, and Seth’s cardboard sculpture of the fictional “J. Morgan Smith Private Lending Library,” 2009 from his book George Sprott, gently spoofs the seriousness of the institution of the library. Alice Attie contributes dense drawings of text from Kant’s “Critique of Pure Reason” and Sartre’s “Being and Nothingness.” Nan Swid’s collages from book covers and pages deconstruct the book from utilitarian function to art objects, and Bette Blank’s painting “Ye Olde Book Shoppe,” 2011 depicts a bookshop crammed with colorful books executed with her unique perspective.
Additionally in the exhibition are Richard Baker’s paintings on paper of covers of books such as William Burroughs’ “The Job,” that pays tribute to classic graphic design yet bears the artist’s unmistakable painterly touch, and Charles Burns’ drawing “Love in Vein” from his book “El Borbah” that is an ode to pulp fiction and comics. Maira Kalman’s closed “Proust’s Notebook,” 2010 plays on the viewer’s curiosity about the notebook’s contents. In Robin Tewes’ painting “Her Story: She Reads Like an Open Book,” a female figure is defined by the texts that surround her and Rebecca Bird’s painting “Depository,” 2010 considers books as a receptacle for memory and history.
-from adambaumgoldgallery.com

sábado, 12 de fevereiro de 2011

quarta-feira, 9 de fevereiro de 2011

Paul Rand

 Cartaz de exposição, The Graphic Art of Paul Rand, IBM Gallery, 1970


Capa do livro Sparkle and Spin, Ann & Paul Rand, 1957

 Design de capa, brochura IBM, 1964

página do livro Sparkle and Spin, Ann & Paul Rand, 1957
veja aqui outras páginas do livro 

 
“Paul Rand did not set out to create classic children’s books, he simply wanted to make pictures that were playful. Like the alchemist of old, he transformed unlikely abstract forms into icons that inspired children and adults and laid the foundation for two books that have indeed become children’s classics.”
— Steven Heller, author of Paul Rand.

Caio Gomez

via http://posterize.com.br/

segunda-feira, 7 de fevereiro de 2011

sexta-feira, 4 de fevereiro de 2011

Vicente do Rego Monteiro




Caligramas de Vicente do Rego Monteiro, reproduzidos no livro organizado pelo Paulo Bruscky (Vicente do Rego Monteiro Poeta, Tipógrafo, Pintor)