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De cerca y de lejos. Concepto de diseño, formato e impacto visual

Designs by artists from around the world, organised into three sections: format, concept and visual impact
De cerca y de lejos. Concepto de diseño, formato e impacto visual

Victionary, De cerca y de lejos. Concepto de diseño, formato e impacto visual, IndexBook.

De cerca y de lejos. Concepto de diseño, formato e impacto visual

Victionary, De cerca y de lejos. Concepto de diseño, formato e impacto visual, IndexBook.

De cerca y de lejos. Concepto de diseño, formato e impacto visual

Victionary, De cerca y de lejos. Concepto de diseño, formato e impacto visual, IndexBook.

De cerca y de lejos. Concepto de diseño, formato e impacto visual

Victionary, De cerca y de lejos. Concepto de diseño, formato e impacto visual, IndexBook.

De cerca y de lejos. Concepto de diseño, formato e impacto visual

Victionary, De cerca y de lejos. Concepto de diseño, formato e impacto visual, IndexBook.

Victionary
De cerca y de lejos. Concepto de diseño, formato e impacto visual (From Up Close and Faraway)
IndexBook

The first question posed by this book focuses on the role of the designer in contemporary society. At the start of the 21st Century we find that the traditional practice of this art has been replaced by a new approach immersed in the audiovisual and technological fields. Advertising and the scope of communication media turn the designer into an artist capable of providing coherent answers to a rapidly changing accelerated world. The designer uses all available media, genres and situations to produce a creative project according to the restrictions imposed by the client and budget (in the majority of cases).
"From Up Close and Faraway: A Concept of Design, Format and Visual Impact" presents hundreds of examples by international designers, broken down into the three concepts mentioned in the title. It shows the versatility and adaptation of designers and analyses both the expansive and restrictive elements that make up their creative field. The main goal is to get the attention of the spectator (or client). The only difference lies in how this goal is achieved. In most cases, the visual impact is given more importance than the concept or format. However, the format can be vital to the configuration of a project, and the entire environment can be built around it. Therefore, the format is not a physical quality in the projects reviewed in this book.
The book presents well documented examples in all three categories. All of them have the same affinities, but vary in their approach. As April Greinman states, "Design has to seduce, give shape and, perhaps most importantly, evoke an emotional response." Thus, the book looks to different perspectives to find its impact on an audience. The front cover, structured like a reticular game, capable of different compositions, in tune with a model in constant flux, where the possible solutions are infinite, is therefore more than fitting.

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