#design exhibition catalogue
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Design is a state of mind
Martino Gamper
a cura di Martino Gamper, Rebecca Lewin, Jochen Volz e Melissa Larner. Design: Åbäke e Alex Rich
Serpentine Galleries / Koenig Books, London 2014, italiano/inglese, 96 pagine, ISBN 978-3863355418
euro 60,00
email if you want to buy [email protected]
Design is a state of mind: l’esposizione mette in luce la storia degli oggetti di design e del loro impatto sulla nostra vita con un’ampia selezione di sistemi di scaffalatura dal 1930 ai giorni nostri. Muovendosi in un raggio che comprende classici del design storico, pezzi unici, lavori di design industriale e funzionale contemporanei, o comunque commissionati recentemente, saranno esposti i progetti di Gaetano Pesce, Ettore Sottsass, Ercol, Giò Ponti e IKEA. Ogni elemento espositivo verrà utilizzato per organizzare ed esporre collezioni di oggetti dagli archivi personali di amici e colleghi di Gamper, oltre ad un’ampia biblioteca di pubblicazioni sui mobili contemporanei da tutto il mondo.
Per l’occasione verranno inoltre realizzate nuove scaffalature di Michael Marriott e dello stesso Martino Gamper, co-prodotte dalla Serpentine Gallery, Museion e dalla Pinacoteca Agnelli.
“Non esiste un design perfetto e non c’è un ultra design. Gli oggetti ci parlano in maniera personale. Alcuni dovrebbero essere più funzionali di altri e l’impatto emozionale che hanno su di noi rimane molto individuale. La mostra mette in evidenza un modo molto personale di collezionare e raccogliere oggetti, con pezzi che raccontano una storia.”
Martino Gamper
Mostra Serpentine Galleries London (05/03- 21/04/2014) e la Pinacoteca Giovanni e Marella Agnelli Torino (24/10/14 – 01/03/2015).
14/12/23
#Martino Gamper#design exhibition catalogue#Serpentine Galleries London 2014#Gaetano Pesce#Ettore Sottsass#Giò Ponti#IKEA#designbooksmilano#fashionbooksmilano
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Hannah Höch, Astronomie, (collage), 1922 [The Mayor Gallery, London. © Hannah Höch / DACS, London / VG Bild-Kunst, Bonn]
[Bibl.: The Photomontages of Hannah Höch, Organized by Maria Makela, Peter Boswell, Essays by Peter Boswell, Maria Makela, Carolyn Lanchner, Chronology by Kristin Makholm, Walker Art Center, Minneapolis, MN, 1996, p. 43 (pdf here). Exhibitions: Walker Art Center, Minneapolis, MN, October 20, 1996 – February 2, 1997; The Museum of Modern Art, New York, NY, February 26 – May 20, 1997; Los Angeles County Museum of Art, Los Angeles, CA, June 26 – September 14, 1997]
#graphic design#art#collage#visual writing#exhibition#catalogue#catalog#hannah höch#maria makela#peter boswell#carolyn lanchner#kristin makholm#walker art center#moma#the museum of modern art#lacma#los angeles county museum of art#1920s#1990s
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100 years ago, in 1923, one of Germany’s most progressive and artistically sophisticated design company’s was founded: the Haël Workshops for Artistic Ceramics, the brainchild of former Bauhaus student Margarete Heymann-Loebenstein (1899-1990) and a company that until its forced sale in 1934 distributed its most innovative products both in Germany and internationally. And although she had to handle the untimely death of her husband and cofounder Gustav Loebenstein in 1928 and the fact that she was now the single mother of two young children she was able to keep the company afloat and advance her artistic vision of sophisticated yet useful and simple ceramics.
Up until October 29 the Bröhan Museum in Berlin with „Haël. Margarete Heymann-Loebenstein and her Workshops for Decorative Ceramics 1923-1934“ presents a comprehensive retrospective of her seminal work that is accompanied by the present and even more comprehensive catalogue published by Hirmer Verlag. The catalogue provides a complete overview of Heymann-Loebenstein’s life and career including her upbringing, her Bauhaus episode as well as her flight and expulsion from Germany in 1936.
Her Bauhaus period, although only about a year long, should have long lasting influence on her work: in Johannes Itten’s preliminary course Heymann gained deep insights into the master’s color theory that would profoundly influence her ceramic works as well as the paintings and drawings she made in her free time. Her general interest in contemporary art also made her a frequent visitor of Herwarth Walden’s „Sturm“ gallery, a great source of inspiration for the Haël decors and ultimately also an exhibition venue for her works. Accordingly inspirations drawn from such diverse artists as among others Laszlo Moholoy-Nagy and Alexander Archipenko can be traced in the Hael/Heymann-Loebenstein products that also testament to her almost seismographic feel for new artistic developments.
In view of the dispersed sources related to Heymann-Loebenstein’s work the present catalogue is a groundbreaking publication that for the first time consolidates all relevant aspects of the artist’s biography, education, influences and artistic work. Warmly recommended!
#margarete heymann-loebenstein#design history#modern design#bauhaus#hirmer verlag#exhibition catalogue#design book#book
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Viral: Biennale Internationale De Design Graphique De Chaumont
www.draw-down.com
The catalog of the third edition of the International Graphic Design Biennial, organized by Le Signe, Centre National du Graphisme (Chaumont France), examines the role of virality in today’s society.
Through essays and interviews contributed by the invited designers and curators, this catalog illustrates the biennial’s 2021 edition and highlights young creators as well as major artists of the graphic design scene with documentation of the 29th International Poster Competition of Chaumont.
In addition, the publication documents solo exhibitions by Fanette Mellier, the Iranian studio Kargah, Michel Le Petit Didier, and Michiel Schuurman, plus presentations such as VIRAL, DEMO Festival, Club Collecte, and a student competition show.
Published by Le Signe Design
Bilingual, in French and English
Softcover, 384 pages, full color, and b&w images, 6 × 8 inches
#Le Signe#Viral#graphic design#poster design#graphic design biennial#poster competition#poster exhibition#poster catalogue#Draw Down Books
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So whats it like having illustration for a job? Or was it graohic design? It was something along those lines right?
i do both actually! to be honest i just call myself a freelancer, since i do whatever people will hire me for. most of my gigs are theatre related, usually stage design + costuming, and then also stage photography/documentation. a lot of my graphic design and illustration work is also usually theatre related as well; i do logo designs for small theatre companies and a lot of posters/graphics + tour marketing campaigns. this book contract i just finished is the biggest illustration job i've done just solely by itself (cover + 13 full page interiors), whereas normally the illustration/drawing work i do is a part of another job; like hand-drawing a logo or doing big scenic painting. the biggest physical 'illustration job' i did was for the set of my thesis show in undergrad, where i painted custom portraits of queen victoria that got blown up to 20ft tall (don't ask), a ted harrison style 30ft mountain range backdrop, and a custom hand drawn+painted 30ft floral mandala for the turntable in the stage. yes that was all for the same show and yes it took me almost a year to design everything.
to get back to your question though, it's like being any other kind of freelance worker, i suppose. i had a lot of fun with this book contract and i'd love to do more, but it just depends on what gigs find me first.
#i really love doing poster design! the most recent one i did was for my solo exhibition#and i did this fun riff on the cover of an old ikea catalogue#i also do headshots and fashion photography occasionally and i custom make garments + do alterations for people#basically if i have a skill there's a reasonable chance someone has paid me to do it#the reason why i do so many different things is that its hard for small theatre companies to hire 'professionals' for some of these things#bc there's usually too high a cost barrier and the 'professionals' are not familiar with the conventions of the form#like finding a good theatre/performance photographer can be hard bc you need a very good camera right off the bat (for low light)#and a lot of photographers aren't usually familiar enough with theatre to know when to get good shots#/arent able to get to know a show well enough to get those shots bc you can only hire them for one session etc#so i usually offer to photograph all the shows i do 1) for my own documentation purposes and#2) so they dont have to bring someone else in and worry about scheduling etc etc#non kpop questions#text#answers
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screaming and crying when i see “vintage sellers” online selling 18th century waistcoats and shit for like $90 so someone can either destroy it with sweat and dirt and wear or they can shove it in a garment bag in the back of their closet where no one can see it or learn from it. this is definitely like. nuanced and it’s hard to draw the line between something that’s vintage and something that’s.. idk an “artifact” that should be preserved and museums definitely do not always do what they should or treat their collections perfectly BUT gd it’s gotta be better than the dpop girlies
#idk idk!!!#because we definitely don’t do as much with our textiles collection as we could and i’m trying to change that#but we’re a tiny county historical society like#even the state historical society has a special archive for clothing and textiles and they have a preservation specialist etc#i’m working on cataloguing and storing all the lingerie in our archives rn and designing an exhibit for that#so i guess i have garments on the brain#but it’s always been a pet peeve i guess#like there’s definitely way worse things people do but this one thing bothers me personally lmao
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#apocalypse#catholique#jésus#chrétien#prière#milice#dieu#jésus christ#religion#christianity#jesus christ#catalogue#catalogue design#exhibition catalogue
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Motifs d'Artistes
Une histoire du design dans l’industrie textile depuis le 18e siècle
Silvana Editoriale, Cinisello Balsamo 2023, 96 pagine, 20x20cm, brossura, Francese, ISBN 9788836655403
euro 20,00
email if you want to buy : [email protected]
L’exposition « Motifs d’artistes, une histoire du design dans l’industrie textile depuis le 18e siècle » revient sur l’origine du métier de designer textile et le rôle des artistes dans la création de motifs. Depuis les dessinateurs employés par les manufactures de soieries et d’indiennes, jusqu’à l’apparition des designers textiles, l’exposition questionne la diversité́ de leur statut et l’évolution de la reconnaissance de leur art. En s’adaptant aux contraintes techniques propres à ce domaine, ces inventeurs de formes ont donné naissance à de véritables ornements, reflets de leur univers artistique, des tendances et des pratiques de consommation de leur temps. Ainsi, Jean-Baptiste Huet, William Morris, Raoul Dufy ou encore Sonia Delaunay ont laissé une empreinte indélébile dans le répertoire des arts décoratifs.
Jouy-en-Josas, Musée de la Toile de Jouy
dal 16 Giugno 2023 al 14 Gennaio 2024
04/10/23
#Motifs Artistes#histoire design textile#exhibition catalogue#Musée ToileJouy 2023#textiles books#fashion books#fashionbooksmilano
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instagram
METAPHERN , Broschure , Exhibition Catalogue , Folder
Design : Lisa Kröll @lisakroell / Photography : Michael Dürr @michael_duerr Concept / Creative Direction : Gregor Schuberth @schuberthundschuberth // Thx to : Pygmalion Theater , Gut Zuckermantelhof , Andrea und Peter Bossler , María und Peter Dürr , Segelschule Club Danube , Moodley , Brand Unit , etc.
more : www.schuberthundschuberth.at / www.michaelduerr.com
#photography#vienna#michael dürr#michaelduerr#magazine#art#fashion#design#architecture#architect#book#exhibition#catalogue#broschure#metaphern#schubert und schuberth#architektur#graphic design#artdirector#Instagram
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Krecidade indigenous Brazilian art exhibition at the Brazilian Consulate in Amsterdam. I designed the poster art and catalogue
#krecidade#art#art exhibition#fine arts#amsterdam#brazil#brazilian art#brazilian consulate#brazilian indigenous art#arte brasileira#kokir#arte indigena#exhibition identity#catalogue design
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Eileen Gray Designer
J.Stewart Johnson
Debrett’s Peerage Ltd for The Museum of Modern Art, New York 1980, Second Printing, 68 pages, 20,5 x 25,5 cm, paperback, ISBN 0-87070-308-0
euro 50,00
email if you want to buy [email protected]
This publication accompanies am exhibition of the work of Eileen Gray at The Museum of Modern Art New York
"Eileen Gray was one of the distinguished designers of the modernist movemenet. Her surviving works are few, but they reflect the most fastidious standards of excellence. During her long life, she made a transition from exquisite handmade objects to rigorously functional architecture and furniture, exemplifying the most advanced taste of her times. Her designs, both early and late, bespeak a vigorous intelligence and total creative integrity. She was, first and last, an original ... J. Stewart Johnson is Curator of Design at the Museum of Modern Art, New York.
15/05/23
orders to: [email protected]
ordini a: [email protected]
twitter: fashionbooksmilano
instagram: fashionbooksmilano, designbooksmilano tumblr: fashionbooksmilano, designbooksmilano
#Eileen Gray#design exhibition catalogue#The Museum Modern Art NY 1979#modernist movement#architecture#furniture#design books#designbooksmilanofashionbooksmilano
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Pino Tovaglia, December 3, 1923 / 2023 — 100
Images: Pino Tovaglia: La regola che corregge l'emozione / The rule that corrects emotion, Edited and Designed by Massimo Pitis, Corraini Edizioni, Mantova, 2005. Catalogue published on the occasion of the exhibition Pino Tovaglia: La regola che corregge l'emozione, Curated by Massimo Pitis with Cristina Dell'Edera, Art Book Milano, Milano, January 19 – April 2, 2005
#graphic design#illustration#exhibition#catalogue#catalog#cover#pino tovaglia#massimo pitis#cristina dell'edera#art book milano#corraini#2000s
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I’m so sorry if you’ve already answered this somewhere, but how do you design your characters?
I’ve been trying to make an OC from the prohibition era and it turns out there’s basically nothing to work with for men’s outfits, so I’m curious how you made this many that look unique and fitting to the characters
There is so much to work with, though!
You will tend to find more of a focus on variety in women's fashion, but there is still quite a lot of menswear to ogle too.
I suppose it's just a matter of searching out ideas and inspiration in the rights corners. Here are a few suggestions:
Old Clothing Catalogues -
Collections from Sears-Roebuck and other popular clothing retailers are pretty easy to find compiled into relatively inexpensive books, or just floating online.
A fair bit of it is in the public domain now.
--Here's an entire 1922 catalogue of stuff to flip through.
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Contemporary Artwork -
Some phenomenal illustrators were working in this field amidst the "Golden Age of Illustration" and featured prominently on the covers of magazines and on the ads inside. There was a lot of emphasis on fashion.
Collier's and The Saturday Evening Post are a couple of the more prominent and easily searchable resources. The costuming on the cover art always has a lot of personality.
There's Rockwell, of course, and it's almost impossible to go wrong with J. C. Leyendecker. He's probably best known for his Arrow Collar ad art, but even his sock ads are like…
There were numerous other amazing and influential illustrators working at the time too. Here's a list of some of them.
Here's a bonus Henry Raleigh featuring some of his fabulously-dressed people.
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Blogs and Articles -
There are so many of them!
If you want historical accuracy, be wary of write-ups pulling all of their references from film and television. There's nothing wrong with using those for inspiration if you aren't too concerned with historicity, but there are some pretty comprehensive and well-researched things out there with more of an eye on actual fashion history too:
--Gentleman's Gazette - What Men Really Wore in the 1920s
--The Fashionisto - 1920s Men's Fashion
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Digital Collections -
There are numerous digital historic image collections stemming from universities, museums, libraries, and the government that are free to peruse too.
--The Metropolitan Museum has a searchable catalog of exhibits that includes fashion and photos
--Here's some things from the New York Public Library
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Photos at Large -
If you aren't sure where to start, image searching for any of Hollywood's early celebrities will typically turn up a bevy of production stills and promotional photography featuring a variety of fashions.
Here's a random Getty images search for Harold Lloyd. A lot of standard 3 piece suits, but a lot of stuff with added character too.
Photography was generally quite accessible by the 1920s, though, and you can find a lot of authentic photos of people from all walks of life, out in the wild wearing all sorts of clothes.
This is by no means the limit to the resources available, but hopefully it'll provide some leaping-off points for designing looks for your characters!
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William Blake
A precursor to The Vision of the Last Judgement 1808, ink and watercolor
A Vision of the Last Judgement is a painting by William Blake that was designed in 1808 before becoming a lost artwork. The painting was to be shown in an 1810 exhibition with a detailed analysis added to a second edition of his Descriptive Catalogue. This plan was dropped after the exhibition was cancelled, and the painting disappeared. Blake's notes for the Descriptive Catalogue describe various aspects of the work in a detailed manner, which allow the aspects of the painting to be known. Additionally, earlier designs that reveal similar Blake depiction of the Last Judgement have survived, and these date back to an 1805 precursor design created for Robert Blair's The Grave. In addition to Blake's notes on the painting, a letter written to Ozias Humphrey provides a description of the various images within an earlier design of the Last Judgement.
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The sixth and penultimate costume of "Death Defying Feats" (Season 3, Episode 1) is Phryne's beautiful mermaid costume, complete with sequin scales, shimmering chiffon wrap, and gold jeweled turban.
A whimsical nod to a siren, Phryne's costume consists of a sequin halter-top bikini with a wide strap across the back, with the point of the bottom piece connecting at the center of the top. The lower half is covered with sequinned scales with a green silk backing on each. The entire ensemble is made with antique luminescent sequins and gold lurex, with a sea green metallic thread combined with antique gold metallic thread creating the binding on the edges.
"To create a 'mermaid' you must research the fabric. I designed a piece that had scales, when Phryne swam the scales went up and down, they moved like a fish." - Marion Boyce, Series Costume Exhibition Catalogue
Adding to the underwater effect is Phryne's blue-green chiffon wrap, finished with the same sea green and gold metallic thread edging. It attaches at the center of the bottom with a simple tie and loops around her wrists to create the illusion of waves. She finishes the look with her gold lamé head wrap, seen previously in 1x03, with a bow created from green crystals.
Season 3, Episode 1 - "Death Defying Feats"
Screencaps from here, promotional photos from Vanity Fair, csfd.cz, and Marion Boyce's website, Costume Exhibition photos from Laura-Emily Dunn's Flickr, Nikki Johnson's Flickr (x, x), and footprintsandfotos Flickr (x, x).
#phryne fisher#miss fisher's murder mysteries#mfmm#phryne fisher's frocks#3x01#s3e01#death defying feats#1920's fashion#vintage fashion#costume design#costume breakdown#costume study
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how can you condemn the mandela catalogue but still be into dream smp.
let me remind you.
dream: careless behavior centering the use of his parasocial army of fans to attack others
george: sexual assault
wilbur: domestic abuse
many other members of the smp may not have exhibited behavior of this caliber of awful but they have tendencies to say some very insensitive things and some I believe are siding with abusers
In the most respectful way possible..
Wow its almost like.. The Dream SMP is a server that has since ended, its almost as like.. No one is profiting off it anymore due to it ending and the ccs no longer streaming it (Especially if other people have reposted the VODs from those days and, omg.. The shitty ones cant profit off old videos of the server), its almost like the characters arent their streamers that you can basically do what you want with in terms of design, headcanons among other things, its almost like the Dream SMP is not being created by one singular person and if anything, had multiple creators who aren't anything like the people you listed that's sided with the victims of those three people you mentioned.
Mandela Catalogue is purely made by Alex with him getting most, if not all, the profit from it even if he's paid the VAs or artists, hes still the one profiting off the series, its almost like you can condemn the actions of a shitty creator by no longer interacting with their series.
On that note, we're not condemning the series, we're condemning Alex for his predatory and despicable behavior against so many people that have been hurt by him in some way, shape or form. There's probably many people who still wish to interact with tmc by only interacting with AUs, fan content or again, reposts of Alex's videos so he cannot profit from it. Even then, with the VAs quitting, TMC is likely not gonna be able to continue anyway!
You do know you can like something while also being critical of the creator and what he's done while also taking the steps to ensure he can't profit off it, right? Like that is a thing you can do.
So get off your high horse and think a little more critically about what you say, especially about a situation as fresh as this one.
#Technoblade - 👑#The actual disrespect#The audacity even#Theres a difference between interacting with a series thats been dead and cant be profited off#And an on going series that still funds its shitty creator if you buy anything#Or watch any of his videos#Please use your brain#Wilbur soot mention#Georgenotfound mention#Dreamwastaken mention#Alex kister mention
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