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Today i will put some fantastic work that I personally love

JaxeNL:

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sakimichan:

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Eraxer:

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victorhugoqisso:

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Overcame-Black:

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Every work of visual communication stems from the need to convey a specific message. A graphic designer is a creator of forms, but a communications operator, a professional using a specific method (design) builds messages (communication) with visual aids (graphics). It is not the originator of the message, but the actor.

The main component of a graphic composition is therefore to interpret the message, the information you want to send to the recipient through the graphics. This information must be represented by different graphic elements which can be many and varied, but the most common are:

    * Simple graphic elements: points and lines of all types (free, straight, broken curves, etc.)
    * Geometric elements, with or without boundary, polygons, circles, ellipses, ovals, etc.
    * Types: letters of different shapes and structure, used to present text messages.
    * Graphics various logos, icons, etc.
    * Illustrations
    * Photos
    * Any other appropriate visual elements to communicate a message.

These basic elements are combined with each other in a graphic, and this combination resulted in a final result with a number of very important concepts of graphic design, among them:

    * Clusters: sets of elements related by proximity, similarity, continuity, or symmetry.
    * Shape: shape of each graphic element isolated and clusters of items.
    * Outlines: parts limits the elements that distinguish them from others and the bottom border can be defined by, changes in color or saturation changes.
    * Location: place of each graphic element or group of them in the graphics space.
    * The size, relative size of each graphic element on those around him. Scales.
    * Color: color of each individual item, the colors of each group of elements, the total set of colors used in graphics, provision of the elements with color and color harmony.
    * Contrast: intensity of display of each element with respect to those around him and the full graphic.
    * The balance: each carries a graphic reference system that achieves an equilibrium level higher or lower.
    * Symmetry: regular and balanced spatial arrangement of the elements that make up the graphic.

The various components of a graphic are perceived by the recipient under the influence of these concepts to each individual, group and total. But the union of all the artwork, is a full and individual communicative entity, full of complex human elements associated with language, experience, age, learning, education and memory.

I think from the beginning, the word design is a very big, so huge that adequately met too many offices and practice it, which has helped produce the belief that it is possible to unifying theories and methodologies while tacitly Praises individual genius. More easily learn to admire the finished work the process and context of that work. With a little luck, that teaches us practice ... practice reveals unexpectedly without the right tools for thinking about the medium and long term, without sufficient resources to make us understand the market, the reality (which we doubt left) has flooded all traces of human culture.
Few cases ever reported in schools we design come to fruition in practice, many of the academic knowledge received just forgotten by their irrelevance ... what lingers in the end?
The work done, the particular project, the idea taken to its material expression.

Is there a charge?
Current thinking very conveniently relocated all responsibility on the individual, but as social beings we are, we can agree that many of our current professional circumstances will undoubtedly arise in an educational model that gives back to work. Educational model that I suspect has had validated the face of the academic demands of an ignorant state probably badly advised, of education methodologists who ignore what is the market, industry and economy of design.
On strategic issues of the designers, the oversupply and the devaluation of professional work, I have nothing to add that the most lucid and devastating heard by me has said Fernando del Vecchio and deepened our profession to implement a simple analysis of the 5 forces of Michael Porter. Perhaps the same diagnosis, the absence of barriers to entry, the substitutions, the turning point 10X, etc. explain many other things: the egos and sensibilities, the inability to hear, this noble idea that professional design with 4, 5 or 6 years of study should be better than the technical design, or the spontaneous and intuitive design that he learned "the trade" in practice.
When I was young, people spoke when it was not possible to talk was at a "cat bag", I suspect that these battles of approaches, beliefs and orientations always end up crashing into the cruel, simple design activity carried out by professionals , offices and agencies.
I think there are methods and processes that define a "now" in each specialty that defines itself as a design, just as there is theorizing about the possibilities and opportunities to influence the future world through their own thinking, a way of seeing things much more holistic and systemic (perhaps what has been called design thinking is behind it, though not necessarily by the success of the designers).
I come to mind two things: the impossibility of requiring under whom he has been deprived of their basic needs and provide teaching old bread along with the tools to continue providing you what this has to do with design?
As someone said, no doubt the designers have received heterogeneous knowledge, skills heterogeneous across heterogeneous mechanisms also is there any possibility of claiming homogeneity theoretical, ideological or simply practical? Our courses have been conflicting, sometimes confusing, incomplete, out of focus with respect to economic necessity, social and cultural which has made it necessary for designers there will anyone be responsible for this, a guilty or a hero who will rescue us?
On the other hand, education, living one of its deepest crisis these days, just really reassures us that nobody has an incentive not going to look to resolve the inconsistencies in the body of design knowledge, practices, methods and processes for the training of future generations. Professional education, not just the design, has entered a vicious circle that needs to continue (de) training professionals obsolete under a scheme to make ends meet and perhaps, eventually when you no longer have options to reformulate their arguments, skills and incentives. While education is limited to being a sustainable business model without future professions will feed on other more reliable sources, current and accessible.

thanks to Alvaro Magaña

Abstract Expressionism

We have previously reviewed the position of those artists who use language to refer to abstract forms and specific aspects of reality. This abstract quality is lyric and he survives and serves the memory of a natural right, first source of inspiration. Different in character is defined as the abstract expressionist, which manifests itself in Europe and the United States into a plurality of voices and attitudes in recognizing always a constant feature for all the Abstract Expressionists, the problem is no longer evoke valdes the real world, as the abstract lyric or create harmony of lines, surfaces and colors motionless and inanimate, as in pure abstraction, but give the pictorial composition, color, the stroke, a violent emotional charge, which amounts to a release of uncontrolled impulses.

American Abstract Expressionism

Is removed from the second half of the twentieth century when the boom begins Abstract Expressionism in America. For the first time Europe looks to America and many European artists of the moment will flee to U.S. for Nazism and war. United States gets its own culture, and the same government will promote a program of assistance to art and artists.

With the end of the Abstract Expressionists of eligible works more vigorous, strong and some larger artists living in America. Two major trends are:

Action-Painting

Jackson Pollock is the most representative figure of the "action painting" (whose purpose is to give the composition, line and color a violent emotional charge, the artist released his impulses that moved to the canvas without any control. His works are mighty , vigorous and large. The features are: violence in the act, violence in the color, large size paintings, which often were at the ground to work from all angles and work the entire surface inaugurate a technique called "all over", so that the box has neither a center nor a definite end, the precedents are the Surrealism, automatism and the subconscious, and expressionism, color). Jackson Pollock embodied a clear willingness to break from the easel painting and it used the technique of "Dripping" (blast of paint on the canvas placed on the ground) with new materials like aluminum paint, synthetic enamels, etc. Pollock "danced" around his work, running times, with their cans of paint, along with study in order to give uniformity to their great paintings.

Along with Pollock there are other artists of the same trend:

Kline vigorous brush strokes painted using black on white surfaces, the result looks like the strikeout of some walls painted street.

Kooning passes a figurative painting to abstract alternately. Their language, however, remains unchanged because the tone is steady on his palette, the expressive anger tearing his colorful, soaring by a continuous energy charge. It is famous for his figurative series "Women" are grotesque female figures with fearsome faces.

Tobey shows a strong influence of Chinese calligraphy (after having entered a Zen monastery) painting pictures with lots of little marks indecipherable, dark backgrounds are treated with networks of white lines emanating from the silence of deep emotion, invite meditation.

Rothko did not paint with such fury expressive challenge of his paintings. It follows an atmosphere of silence. Pictures with vague geometric organization. The surfaces are smooth, and always emen them a sense of serenity is very different from the tortured

impression made on the lines of abstract expressionism. So Rothko is considered abstract expressionist and sometimes is considered informal.

Informalism

World War II left Europe in the postwar one tmósfera desperate feelings of loneliness and anxiety. In this framework was developed informal, a parallel movement to "Action Painting" but having more sad and sinister aspects. It is a heterogeneous movement that includes several trends.

MATTER AND GESTURE: A figurative trend represented by Fautrier, Wols, Soulages, Hartung and Dubuffet. These painters reflect in their work all the anguish, fear and despair of the generations who had experienced war.

Fautrier makes small works with a large central filling appears set human embryonic forms. His exhibition in Paris in 1945 had a huge impact, his works were referred to as a vision of death and desolation converted into pictorial object.

Wols automatic makes works in which, on a colored background, sometimes striped and sometimes even, trace staining and rapid strokes. But no logical sense that tangle and apparently without meaning, sometimes arise, echoes and memories of reality.

Hartung paints works in which a brownish Lienas dramatic dark and tormented.

Dubuffet developed a technique based pigments mixed with sand, dirt and other substances that allowed him to create a texture of thick paint surface on which he worked, scratched, getting a quality mater of the emerging graffiti, configurations monstrous, violent cartoons women, tables, animals, etc.

Soulages reaching the peak of violence with overlapping expressive brown and black shades.

THE COBRA GROUP: Developed between 1,948 and 1,951 in the Netherlands. Its name refers to the place of origin of its members, Copenhagen, Brussels and Amsterdam. His main contribution was the recovery of the chromatic violence Expressionist tradition but with more visual roughness resolved. Their representatives are Asger Jorn and Karel Appel.

THE SPANISH INFORMALISM: After the Civil War and the establishment of the Franco dictatorship, Spain had a bleak picture. The first signs of an artistic revival in Barcelona were observed with the appearance of Dau al Set group composed of various artists and intellectuals, including Antoni Tàpies desctaca using materials such as marble dust mixed with latex and other pigments, worked in heavy fillings on which gestures, signs and images of objects appear as trails, signs and emblems.

Another important group is El Paso, founded in 1957 in Madrid, composed by various artists among them Antoni Saura and Manuel Millares.

Saura produced a work of figurative gestural character with echoes reaching the heights of tragic, violent and torn expression, as seen in his "crucifixion." Thousands with his burlap broken, her clothes huddled, graphics tenuous or dense pigment built a desolate ruin and destruction to talk about a tortured humanity.

Abstract Painting

The object had been subjected in the nineteenth century painting all sorts of experiments: reduced color Fauvism, geometrized in Cubism, Expressionism distorted, vibration dynamic in the future, dreamed of Surrealism, abstract art now finally proceed to its elimination. The purpose of abstract artists is without all the figurative elements to concentrate the expressive power of shapes and colors that do not provide visual connection with reality. This is a previous attempt to Surrealism, but goes beyond it in time to exhaustion as the surrealist school banner that guides the painter is that of abstraction. The artwork becomes an autonomous reality, no connection with nature, and therefore is no longer men, landscapes, houses, flowers, color schemes, but simply trying to express, in language no forms, such as the music, inner necessity. "In painting - Kandinsky writes - a round spot may be more significant than a human figure"

Kandinsky and Klee

Is Kandinsky who, in Munich, circa 1908, is the first time disclosure of non-figurative painting. Not broken by then still the figurative elements of Expressionism, but in 1913 published in "Der Sturm" an article that defines the new design: "The interior element determines the work of art." If this element predominates, the outside is reduced to a simple instrumental emanation. After a stay in Russia, Kandinsky moved to Berlin in 1921 and joins allé Bauhaus in 1924 founded the group "Blue Four" with Klee, Feininger and Jawlensky. Kansinsky intellectual adventure is of enormous courage, because the Russian master appears mired in constant doubt as stumbling. His partner, the Swiss Paul Klee, in his lectures at the Bauhaus and in his writings explains how the graphic elements - point, line, plane and space - take on meaning by a burst of energy within the mind of the artist.

The Neoplasticis

The "cubist revolution" in the Netherlands has a special impact because of the formation of a group of artists around the magazine "De Stijl." The founder and lead animator is Theo Van Doesburg. The magazine "De Stijl" calls for the abstraction and simplification.

The straight line, the simple prismatic and flat colors (anything superfluous release to get the essentials, which for them is the straight line) are the main characteristics of this style. Radicalism in the aesthetic principles is such that, when looking for variations Doesburg formal structures using rectangles with an inclination of 45 degrees, Mondrian, disgusted, leaves "De Stijl." But most important of Neo is in it. More important than the work carried out are the theoretical foundations ..

Piet Mondrian, the most important painter of the group, repeated in his canvases over and over again variants of rectangles of different sizes, for using only primary colors, white and black. Mondrian seeks a "pure art" stripped of the particular and based on some alleged universal law. For Mondrian his works are a moral necessity rather than an aesthetic principle.

Russian Constructivism

The October Revolution of 1917 released the old Russian empire, a huge source of energy. Suddenly dropped the whole social system and raises the possibility of creating a new order in fairer and freer.

In 1920 in Moscow published the "Manifesto realistic" Anton Pevsner and Naum Gabo, which dispenses with any social or political analysis. Depues few months, in response, proclaimed the Manifesto of the Group Productivist "signing Tatlin, Rodchendo and Stepanova, who worry about joining the art and politics (there should be between Ortes dinstinción thought that the painting is also construction and had to use the same materials). Thus we see that the Constructivism "arises not so much the desire to change the art, and to build a new life. The idea of the artist-craftsman, creator of a minority and restricted art begins to be rejected. Alternatively, the artist of the revolution will be that I can link their work in the industry to develop a mass art.

Kasimir Malevich in painting is a decisive figure. Suprematism, which is founded on the search for harmony between simple geometric shapes (rectangle, circle, triangle and cross) of flat colors, located on a white background as seen in his works "table red on white" or "black circle on white background. " The purpose was to create a private world of objects, wanted to build only with colored images. To do this, he said, was needed to force the educational task groups to look for a different beauty to the routine. His contribution was well received at first, but when communism horizon established as the actual painting, his art was lost in the Dark (1919).

Abstract Art Precedent

Fauvism:

Fauvism is essentially a reaction against Impressionism in favor of color and object, which the painters of the century had been reduced to bright hues.

The color is again the main ingredient of the table and is used so apasionada.Pero is not a school of art, with an elaborate program, but serves to group a number of painters, cartoon, for a period at the same or similar purposes.

Its main representatives are: Henri Matisse, Albert Marquet, Roul Dufy, ect.

Cubism:

After the explosion of sensual color of Fauvism, aparace, by the inspiration of Picasso and Braque, a cerebral art, intellectual, kind of operation surgical area.

The Cubists do not use the conventional view, or the colors of reality, or adopt a single viewpoint.

With Cubism painting begins an exciting journey through the realities that the human brain can make or break free. Picasso and Braque cubist figures were the two inspirations.

Futurism:

Futurist painting can be considered a "dynamic cubism", which development takes place in Italy. Characteristic of this style will give objects a number of positions nobre a plane with the desire to represent the movement. The representatives of this movement are: Balla, Boccioni, Severini and Carr.

Expressionism:

Expressionism offers nuances and contradictions that have no other contemporary art movements. The difficulty arises from the multiplicity of its manifestations.

The common caraxteres are the primacy of subjective expression versus objectivity. Passion in the treatment of the picture, with application violent, sometimes, pulp painting. Topics emphasize the unpleasant, the forbidden, sexually, and perverted fantasy. Highlights Munch, Nolde, Heckel, Müller, Schmidt-Rottulff, Kandinsky, Klee, Kokoschka, etc.

Surrealism

Surrealist artists are interested in the unconscious, dreams, absurd. Surrealism tries to shape the world of dreams, the subconscious phenomena, buried by consciousness, phenomena whose importance was being shown by the advocates psicoanálisis.Se involuntary aestheticism is based on the operator, in the graphics instinctive in the left hand does not lead to any dictation of thought. There are two distinct currents within Surrealism, Abstract Surrealism (Miró), and figurative surrealism (Dali). The leading artists of Surrealism is, Duchamp, Ernst, Dalí, Miró, Chagall, De Chirico, Magritte, Tanguy and Delvaux.

Name: Andrey SHCH
Sex: Male
Age: where that between
Company: SHCH graphics group
Title: Founder & Creative Director
Profession: Graphics designer
Country: Ukraine
Website: [link]

Interview:

Tell us a little bit about your background?
To begin with, I’ve been drawing all my life. I draw the way I want to and the way I feel. I was born and live in the best country of the world, Ukraine, in the city of Kyiv. I have never studied drawing, never finished any art schools, probably, for the better. Because they would have told me which way of drawing is good and which is not. And I don't know any rules, basics, anything about the composition of a "correct" drawing, any restrictions. I draw guided by my heart and my inspiration. Young artists, who attend academies or schools, often suffer from different rules being imposed on them, and that does not allow them to disclose their talents in full measure. They are suppressed with those rules and their creativity appears limited. I believe that one should practice more, draw more, do more and view the world with the eyes wide open.

Who are your main inspirations? / What are your influences?
Life itself is my inspiration, life is unpredictable, very interesting and it brings me a lot of surprises. And also my dear girlfriend, my muse. Her large hazel eyes are bottomless wells for my inspirations.

How do you keep motivated and interested?
My motivation is simple. I want to astonish and amaze the world we live in. With the help of my works I want to show that I have heart inside, to show the beauty it is filled with, and in that way to make people looking at my works happy, or maybe surprise them. Surprise them with my world.

Do you have any new projects coming up that you can tell us about?
I like both my commercial and non-commercial projects. My last projects were applying my drawings on fabric, trainers, and painting on walls, plates and dishes. Also I have some interesting projects on decorating cars, snowboards, fridges and other domestic appliances.

What do you know about your country’s design/designers?
I know that there are a lot of them, they are very talented, and they please me with their works. I am grateful to them for what they are doing and I wish them success in their work.

Any words you would like to pass it to new comer designers?
I would gladly wish one simple thing to both newcomers and experienced designers: to wonder every day, and always look at the world through the eyes of a baby, which is excited by everything, and which is glad to any opportunity to see beauty and do something that could excite other people. Be wondered and try to wonder others.

What is your most favorite commercial design of our own?
My most favorite project is still ahead, it is not created yet. This is just a beginning.

Name 8 designers you like it most?
-Cmart (Oleg Pashchenko),
-Dali,
-Picasso,
-Van Gogh,
-Bosch Hieronymus van Aeken
-Edouard Manet
-Tizianо Vecellio
-Kasimir Malevich

Any final comments:
Many thanks for the opportunity to present my works and myself in your great magazine, I hope that was not for the last time. If you ever visit Ukraine, I will be happy to receive you as guests. Especially since there will be a good occasion – in 2012 Ukraine will host a European football cup tournament. Come to see me, you are always welcome. My best wishes to you!

I'm really grateful to everyone for their contribution

by Andy on August 18, 2010

in Lists,T-shirts,Text/Typography
typography t-shirts

Typography t-shirts are probably my favourite category of t-shirt design styles, you know why? They get a reaction, they make you think, and they can be some of the most beautiful tees you’ll ever see. I have literally hundreds of t-shirts in my wardrobe, but if I’m in the mood to wear something that people will comment on it has to be a text tee, I’ve literally been stopped in the street to ask where I got some shirts, and that only happens with text tees because when people see text on a tee their eyes are drawn to it. Hmmm, did that last sentence make it seem like I’m desperate for attention? Validate me! Love me, love me, buy my t-shirt (that I persauded myself I shouldn’t include in the list despite it’s custom typework)!

It’s actually quite surprising that with my love of this style of t-shirt that I waited so long to post a ridiculously long list of typography t-shirts. I have no reason, but clearly in my mind people would rather see robot and Star Wars t-shirts (and even a list of t-shirt lists) before typography tees. I have bent the definition of a ‘typography t-shirt’ a bit here, I feel that in their pure form a typography shirt should be composed of great typework, and be about typography, but because that is a bit of a limiting category, I’ve decided to include t-shirts that display good and interesting uses of type.

It should be noted that I would not describe myself as an expert when it comes to typography, far from it, and that isn’t me being modest, I genuinely don’t know the principles of ‘good’ typography, or even if typography should be described as ‘good’. However, I do know a good looking and interesting t-shirt when I see it so hardcore typographers will hopefully not be too disappointed by the selection I’ll be listing today. Similarly, these shirts aren’t ranked in any order, the numbers are just there for reference, in fact I think this is one of the strongest lists I’ve put together, there’s real quality all the way through it, so it’s well worth clicking through to the next page (you thought I was going to put 250 t-shirts on one page?).

Okay, enough waffle, let’s look at a huge amount of t-shirts!

images: [link]

The terms design and composition in art refer to the planning and/or arrangement of form and/or color, in two- or three-dimensional work. Design/composition is one of the "formal" elements used in art, along with space, color, value (lights and darks), and other elements.

Modern artists differed in this only in that they started to leave the skeletal structure of the work more and more visible, finally allowing the compositional structure to itself be the subject of painting in the 20th century; not only not hidden, but shorn of any pretense of imitating the objective world. From the Renaissance, when linear perspective was developed, to the late 19th century, composing was perceived as the depiction of objects and planes receding in space. After 1890, painting became more consciously two-dimensional, in the primacy of the 'pictorial' surface, described as having a 'sense of surface,' as opposed to depicting the illusion of depth.
Generally speaking, paintings can be said to lie more in either the area of form/drawing, or of color, particularly from the Renaissance until the mid- to late 20th century - it is very difficult to concentrate equally on both areas, and your work can be enhanced by narrowing your field of study. Plus, artists are often drawn temperamentally either to color or drawing, the proverbial romantic versus classical duality. Thus, the Cubists dealt somewhat more with form and space than with color (in fact, much of their color is limited to a few neutral colors), and the Fauves dealt more with color than with form and structure. A painter friend once thus described the act of painting as like juggling 30 grapefruits - you're dealing simultaneously with color, space, value, composition, form, movement, drawing, etc., and sometimes, especially when a student, this can seem overwhelming. In much of modern art (ca. 1900-1955), this meant that every paint stroke should embody the "perfect" color, value, spatial, compositional, and spiritual relationship with all other strokes or shapes - a stringent and infinite endeavor - perhaps a legacy of Cezanne. Generally, an artist or artistic movement will concentrate on certain formal aspects of interest to them, whether slightly, as in Pop art, or to the extreme, as in Minimalism.

This composing, which is similar to musical composition, can be done beforehand, or spontaneously while working, or both. It often takes the form of geometric shapes, such as the triangle, but can also be derived from organic and other sources. It is the scaffolding on which the visual forms hang. Objects have a linear structure - a table or building consists of horizontal and vertical parts, which form the same directional lines in the painting. Seen head-on, the horizontal lines would be horizontal; seen at an angle, they would be diagonal. A flower or plate would be a curved, circular or spherical form; viewed at an angle, the flower or plate would be an ellipse. Artists learn to see objects in terms of their geometrical forms: cylinder, sphere or cone, and it is these forms and directional movements that the artist is arranging, not as 'table,' 'building,' 'flower,' or 'plate.'

This composing, which is similar to musical composition, can be done beforehand, or spontaneously while working, or both. It often takes the form of geometric shapes, such as the triangle, but can also be derived from organic and other sources. It is the scaffolding on which the visual forms hang. Objects have a linear structure - a table or building consists of horizontal and vertical parts, which form the same directional lines in the painting. Seen head-on, the horizontal lines would be horizontal; seen at an angle, they would be diagonal. A flower or plate would be a curved, circular or spherical form; viewed at an angle, the flower or plate would be an ellipse. Artists learn to see objects in terms of their geometrical forms: cylinder, sphere or cone, and it is these forms and directional movements that the artist is arranging, not as 'table,' 'building,' 'flower,' or 'plate.'
Like the notes, melody, and arrangement of jazz or classical music are to the musician, so are the lines, colors, shapes, composition, and space to the painter. These have an identity and intrinsic value of their own, as well as for subject matter; and they are all inter-related. Composition consists of "perfecting" the inter-relationships of all these elements, which become infinite. Non-representational art is similar to instrumental music - there are no words, but incredible things can still be expressed - maybe more than with representational work, as with a Beethoven symphony. Using recognizable objects can sometimes get in the way of expressing a universal and profound truth; they draw attention to the particular, temporal and mundane, or they function as literary symbols. With the purity of geometric or other abstract form, one can speak to all times and places. When serious artists "speak," they are not using words - at least not in the usual sense of words. They are mostly not dealing with literary content, such as metaphor or symbol, although metaphor and symbolism may play an equivalent role in visual terms, expressed as an artist's personal iconography. Artists use concrete and abstract means to express their vision - which cannot be expressed in words - otherwise it would have been born as a novel or poem. Like music, art is a preliterate activity; that usually means that we need to discard our civilized clothing and preconceptions at the door, and walk in with arms at our sides and mouths closed, watching, and let it affect us in the same way music does - we need to just be receptive to all the ways it affects us, in non-verbal thought and feeling.

The formal elements of color, space, composition, etc. apply to both fine art and commercial art, and the same design principles (harmony, balance, etc.) apply. However, the intention of the artist in each situation generally differs - that is, the commercial artist is trying to sell a product, and the serious fine artist is attempting to express something more profound and meaningful, without the primary purpose of commercial value. This difference of intent affects dramatically the creative choices each will make, as well as the ultimate value of the artistic result.

Artists have always been influenced by their environment. I think this explains why, for instance, Chinese landscape painting has a certain look (because of their distinctive landscape); modern art became more geometric when industrialization caused architecture to change at the turn of the 20th century; contemporary American art has been influenced greatly by such things as the billboard, commercial packaging, comic strips, etc. - because these things are all around us; and Minimalism appeared at the time when technology started to herd us into little cubicles, both physical and psychological. As well as being influenced by our environment, artists are also motivated by their 'inner necessity,' as Kandinsky called it. These two forces cause artists to make their choices regarding the form their art will take.

Artists have always been influenced by their environment. I think this explains why, for instance, Chinese landscape painting has a certain look (because of their distinctive landscape); modern art became more geometric when industrialization caused architecture to change at the turn of the 20th century; contemporary American art has been influenced greatly by such things as the billboard, commercial packaging, comic strips, etc. - because these things are all around us; and Minimalism appeared at the time when technology started to herd us into little cubicles, both physical and psychological. As well as being influenced by our environment, artists are also motivated by their 'inner necessity,' as Kandinsky called it. These two forces cause artists to make their choices regarding the form their art will take.
Contemporary conceptual artists often base their work on an idea, rather than resulting in a traditional art object (e.g., painting or sculpture); in this case, there is little or no visual component to their work: no composition, no formal values, no drawing, etc. But in these lessons in composition, I am dealing with more or less traditional visual ideas of design and composition. These lessons are not meant to be an all-encompassing design study, such as might be found in a university design course, but rather just some things I have learned about design and composition in painting.

In fact there are very few designers or programmers I know do not work listening to some music when you are in the process. And although there are many branches in the design in which we could classify certain types of music, or even social contexts in which each designer or developer is, I think it's best catalog of songs for different types of situations, either since creates a web design to a small diptych.

The situation may be different that we can be with aholgado time for our deliveries, the pressure of the delivery day or a bomberazo came out 10 minutes.


Situation 1

We have a web design project, or a magazine or book that takes relatively few 3 or 4 weeks to develop it, including taking our time and provided a cushion for the unexpected.

    * Dream On – Aerosmith
    * Like a Stone – Audioslave
    * Showme How to Live – Audioslave
    * With arms wide open – Creed
    * Talk Shows on Mute – Incubus
    * Gold Digger – Kanye West
    * Hold On – Limpbizkit
    * Teardrop – Massive Attack
    * Relax [Take It Easy] – Mika
    * Chasing Pirates – Norah Jones
    * You get what you give – New Radicals
    * Float On – Modest Mouse
    * Bitter Sweet Symphony – The Verve
    * More Shine – Sise
    * Another one bites the dust – Queen
    * D’yer Mak’er – Sheryl Crow
    * Bob Marley – One love
    * Reckoner – Radiohead

Bonus: Policy Of Truth – Depeche Mode


Situation 2

Now our project are changes that a client needs for today, but at the same time you get an update from another client who needs for tomorrow, but if you do not advance today, tomorrow you can not finish because it is a lot of workload.

Our list would

    * Boom Boom Pow – The Black Eyed Peas
    * Best of You – Foo Fighters
    * As- George Michael
    * Sweet Child O’Mine – Guns and Roses
    * Empire State of Mind – Jay Z
    * Explode – Nelly Furtado
    * Last Night – The Strokes
    * Time is Running Out – Muse
    * Eat your alive – Limpbizkit
    * SOS (Rescue Me) – Rihanna
    * Somewhere Below – Linkin Park
    * What Ive Done – Linkin Park
    * Work it – Nelly
    * Bob Sinclair – World hold on
    * Don’t Cha – Pussy Cat Dolls
    * The Way You Move – Outkast
    * Crazy little thing called love – Queen
    * Fear of the Dark – Iron Maiden

Bonus: Bodysnatchers – Radiohead


Situation 3

Some of the clients or your boss gets 10 minutes to finish your day, it's Friday and I stayed to see your friends or your girl, and take away what is left of the day for fun. Frustrating ah!

Do not worry, there is music you can help your brain and imagination run wild without any illegal substance, only that care can be damaged and still listen to this selection for long.

    * The Pretender – Foo Fighters
    * All My Life – Foo Fighters
    * Twisted Transistor – Korn
    * A.D.I.D.A.S. – Korn
    * Take A Look Around – Limpbizkit
    * Re-arranged – Limpbizkit
    * Rollin’ – Limpbizkit
    * Breaking the Habit – Linkin Park
    * Supermassive Black hole – Muse
    * Map Of The Problematique – Muse
    * Muscle Museum (Soulwax Remix) – Muse
    * New Born – Muse
    * Survivalism – Nine Inch Nails
    * Here it goes again – Ok go
    * Jigsaw Falling Into Place – Radioheah
    * Eyeless – Slikpnot
    * Sic – Slikpnot
    * Wait and Bleed – Slikpnot
    * Juicebox – The Strokes
    * Attack – System of a Down
    * Question! – System of a Down
    * Chop Suey – System of a Down
    * Deer dande – System of a Down
    * Toxicity – System of a Down
    * Master Exploder – Tenacious D
    * Beelzeboss – Tenacious D

Bonus: Kickapoo – Tenacious D ; Thanks to Ivan

I will explain to the artists he most admired in these times, many will know him, as they have been an inspiration to many colleagues

Pete Harrison: [link]

Biography



Hello!

Im Pete Harrison, and go by the alias ‘aeiko’ which is pronounced ‘eye-ko’. Ever since I was younger I was creative and wanted to follow this direction in life, When I was 12 I wanted to be a graphic designer.
Knowing this I was able to tailor my education around what I wanted to become. At school I studied art and design, same at A-Level. I went to University and studied MediaLab Arts. This 4 years of my life can best be described as a metaphor...

MediaLab arts is a car crash between two vehicles travelling at extraordinary speeds that takes four years to happen. In one car are internationally recognised computer scientists able to teach programming and control of visual media. In the other are artists, musicians, theorists and designers who are determined to reinvent how art, language and human beings are represented in the 21st century. Miraculously everyone walks away from the crash unscarred, and from the wreckage emerges a software artist able to operate at an exceptionally creative level in both corporate and cultural industries.

So I knew I wanted a career in the creative industries.. during University I started creating digital art, and by the time I had finished I had quite a few artworks to show, so I set up a website to showcase these.
I began posting on a few community and social sites and networking with other designers and illustrators. I was featured in a few magazines and books and exposure started to grow. I took a fulltime job in London working at an agency, and while I was here I set up a clothing label as a hobby, I called this Funkrush, and commissioned a bunch of friends to do some designs for me.

Funkrush developed very fast and now showcase’s designs by some of today’s top illustrators and
designers as well as being stocked in shops all over the UK and Europe. Alongside this (and my fulltime job) I decided to take up freelance and gained some high end clients in the fields of graphic design, web and interactive media, my online presence was still expanding. I was recognized by Computer Arts
magazine as one in ten internationally recognised designers in the year 2006.

As you can imagine I was super busy, I was getting more freelance projects and funkrush was expanding even bigger, so I decided to quit my agency job and take up freelance full time. I moved back to Devon, southwest UK - this is where I grew up, although I loved London I think this place suits my lifestyle more. In between all of this I set up the Desktopography project and got loads of friends involved in that too, read more in the projects section!

About a year ago I was chatting with my friend Olly Moss and we decided to set up a new project, called SuperCombo, it sells unique, high quality clothing and items inspired by our love of videogames, anime and general nerdyness. Its pretty new and runs as a sister company to Funkrush, keep an eye on that because we have lots of great ideas and products to come!

So this is what I currently do..im a freelance graphic designer running a few creative projects on the side, you can read more about them on this website, also feel free to check out my blog for updates and other fun things! Enjoy!

Pete

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Eric Sin: [link]

Age: 20   /   Gender: M   /   Location: California, US
Biography
I am a 20 year old illustrator/student living in the great state of California. I currently reside in La MIrada, CA. I attend California State University, Fullerton, and am in the process of acquiring a Bachelor in Fine Arts degree in Graphic Design.
Inspirations
John Mayer, Kobe Bryant, Steve Nash, all the amazing people in the world.
Hobbies
Guitar, Illustration, TV sitcom
Tools of the trade
Brain + Photoshop + Illustrator = Work


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Christian Jehle: [link]

Age: 22   /   Gender: M   /   Location: Osnabrück, Germany
Biography
"abitur" passed in 2007
internship @ artikel8
internship @ elbnah
miscellaneous client work

studied
graphic design at institute of design, hamburg
cognitive science, osnabrück


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Kervin Brisseaux: [link]

Age: 24   /   Gender: M   /   Location: New York
Biography
...is a creative insomniac.
Inspirations
The Dechinkos
Hobbies
Street Fighter, FiFA, Mixing, Snowboarding


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Mike Harrison: [link]

My name is Mike Harrison. I’m a 25 year old graphic designer and illustrator, currently residing in Southwest UK.

For the past 7 years I have honed a variety of skills in the fields of graphic design, illustration, motion and photography. It turned into more than just a passionate hobby for me many years ago and I am freelancing fulltime offering art direction, graphic design and illustration. I am always striving to improve my work and adapt to the ever changing, fast moving design scene, hoping to inspire others along the way.

I am proud to be part of the international modern art collective Depthcore, and a member of the Keystone Design Union.

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For now this is it, I'll post more over the week

List of music: I'll put the music I listen to design, you can each make your contribution and I'll be posting.
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·····SOLO PIANO·····
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·····RAP-REGGAE·····
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GRAPHIC DESIGN - COGNITIVE PSYCHOLOGY

There is a branch of psychology called cognitive psychology, that is composed incorporates everything we know and we realize the environment in which we live. During the twentieth century have been developed by cognitive psychology, the concept of memory as construction, that means the man who is constantly acquiring knowledge, not deposits or keeps them, contrary to this, as will acquire knowledge building more as a person.

Though Cognitive Psychology is a very encompassing and general concept, as we might reduce a bit and realize that this branch of psychology studies how to perceive shapes, colors and perspective. In the preceding paragraph comes to memory, Mahoney said that the memory is divided into long-term memory (permanent retention of information) and short-term memory (information selected to not stay long).

These two types of memory are often handled by the sender of a message, and graphic design is important part of it, because it makes in an atmosphere of encouragement, just let us focus on "it." In graphic design it is necessary to capture the attention of the user / customer through the selection of attractive colors, the organization of forms, images as well as the choice of the latter and the inclusion of a good perspective for example.

But we realize we are always in contact and "engage" with these perception systems, such as organized forms, images and colors in a soft drink advertising, we "forced" in some way to go to buy a product of these because it creates a need that we may or planned. As well as identification when creating a logo of a brand, the choice of form and color, sometimes adapting it to a particular perspective causes the receiver to keep it in your mind and instantly know how to identify when a pair of jeans or sneakers, for instance, is gone.



bueno en mis ratos libres a veces escribo poemas asi que pondre alguno espero que  os gusten mauaajajaa.


latente sensacion que recore el alma desolada por la nostalgia,
naufraga en el mar de lagrimas undida en la desgracia,
que aun consciente sentimiento irremprimente busca la salida,
a un negro atardecer alimentado de almas en fuego ardiente,
constante palpitar que recore tu cuerpo cual lava magenta,
corroe el apice de humanidad a en tu malestar presente,
la luz, la llama, el blanco belo estaran presente en tu entierro,
la familia que bienestar codifia rehuye de inmundicie,
llenaran tu tumba de fina arena y tu descansaras en la paz plena,
te sentiras como Bob Marley en su jardin fumando hierba,
te llamaran divinidad, celestial ser inmortal, artista y chaman,
porque traeras noticas al bello cielo esperanza y aroma fresco,
te sentaras con los ams sabios y astutos adversarios,
en sus charlas diarias aprenderas y sentiras nostalgiaa.


el amor llave que otorga el poder de herir los sentimientos,
el odio escudo contra bondadosas y virginales apariencias,
el rencor persistente arraigado dolor en tu corazon,
la pasion madre de locura lujuria y tentacion razon,
ausente de cualquier reflexion presente en mente,
nadie reparo cual inmenso grandioso es deleite,
pura explosion hiroshima del corazon extasis predileccion,
padecimiento de erotismo es tu mas fiel inclinacion,
arrebato de frenesi, filantropia idolatria es tu confusion,
y yo no soy tu confesor asi q ven, hagos el amor en el salon.


feten brillante en la oscuridad de tu abismal vacio
relumbrante cegador brillo haz de esperanzada paz
anelo que no prospera nautilus impreso en tu retina
dolor tatuado camino hacia tu dura madurez,
esperanza no es la salida al averno ni es amanecer,
pero sin ella el destino es petreo agotador alborecer,
sabio el tiempo consciente de tu fe en el, por
que es ser inmortal incansable , capaz de enseñar
y al poco tiempo tu condicion humana desterrar,
debemos de temer al tiempo, agradecer su constante fluidez
el valor sin el pirde sentido y creo que la amistad tambien.