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Indexation 766 : Arts graphiques
766:654.9 CommunicationOuvrages de la bibliothèque en indexation 766 (414)
Ajouter le résultat dans votre panier Affiner la recherche Interroger des sources externes03.15 - 2015-03-12 (Bulletin de Novum)
Titre : 03.15 - 2015-03-12 Type de document : texte imprimé Année de publication : 2015 Langues : Allemand (ger) Anglais (eng) Catégories : Arts graphiques
DesignIndex. décimale : 766 Arts graphiques [n° ou bulletin] 03.15 - 2015-03-12 [texte imprimé] . - 2015.
Langues : Allemand (ger) Anglais (eng)
Catégories : Arts graphiques
DesignIndex. décimale : 766 Arts graphiques Réservation
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Code-barres Cote Support Localisation Section Disponibilité SL 18862 Novum Fascicule ESA Saint-Luc Beaux-Arts - Biblio Disponible 
Titre : 08.17 - 2017-08-12 Type de document : texte imprimé Année de publication : 2017 Langues : Allemand (ger) Anglais (eng) Catégories : Air Canada -- Charte graphique
Aliments -- Conditionnement
Arts graphiques -- 21e siècle
Arts graphiques -- Technique -- Innovations
Compagnies de transport aérien -- Canada -- Design
Hôtels -- 19e siècle -- Vienne (Autriche) -- Décoration
Infographie -- Logiciels
Livres -- Mise en page
Mangas
Nikon (appareils-photo)
Taniguchi, Jirō (1947-2017)
Travail du papier
Typographie -- 21e siècle
Typographie sur le WebIndex. décimale : 766 Arts graphiques Résumé : Wenn es mal wieder so richtig heiß ist, wer träumt dann nicht davon, ins kühle Wasser zu springen oder an einen schönen Ort zu reisen? Auch die neue novum »macht Blau«: Ein Siebdruck-Cover lockt mit satten Farben und im novum + dreht sich in dieser Ausgabe alles ums Reisen.
Passend zur Jahreszeit dreht sich im novum+ der Augustausgabe alles ums Reisen. Mit dem Creative Director von Winkreative sprachen wir über das Redesign von Air Canada, wir stellen das Erscheinungsbild eines Wiener Grand Hotels vor, reisen mit dem Mangaka Jiro Taniguchi nach Venedig und zeigen, mit welch fantastischen Kommunikationsmitteln Großkunden bei einer Reise ausgestattet werden. Es gibt viel spannendes Design rund um das Reisen zu entdecken wie diese und weitere Projekte zeigen
Im Showroom besuchen wir Studios und Gestalter von Amerika bis Griechenland und setzten unsere historische Serie zur Neuen Typographie fort, die sich diese Mal mit dem »Ring neue Werbegestalter« befasst. In der Rubrik »Produktion« fragt Sylvia Lerch nach, was es denn mit Öko-Druckfarben so auf sich hat. Sind sie wirklich umweltfreundlich? In »Focus Typography« stellen wir eine Plattform vor, die hilft, wirklich inklusives Kommunikationsdesign zu schaffen und Felix Scheinberger erklärt, warum das Gehirn in Felsformationen Aliens erkennt und wie man diesen Effekt für die Illustration nutzen kann.
Das Cover
Für diese Ausgabe nutzten wir den Kreativkarton von Koehler Papier. Das Recycling-Papier besteht zu 100 Prozent aus Sekundärfaserstoffen und ist FSC-zertifiziert. Das Material ist in viele bunten Farben erhältlich, wir wählten den leuchtenden Farbton azur. Bedruckt wurde das Material im Siebdruck und durch Überdrucken einiger Stellen konnten wir neben den drei Originalfarben noch einen vierten Ton generieren. Auf dem farbigen Untergrund kommen die satten Siebdruckfarben besonders gut zur Geltung.
Das Cover-Motiv stammt von Bob Design aus London. Die Kreativen experimentieren gern mit Feinpapieren und haben in ihrem Entwurf kurzerhand die Buchstaben des novum-Logos selbst auf Reisen geschickt und spielerisch in ein sommerliches Meer eintauchen lassen.
Note de contenu :
Das finden Sie im Heft
novum+
Winkreative (CAN)
Moodley (AUT)
Lily Design (ISR)
Jiro Taniguchi (JAP)
Dunkelblaufastschwarz (AUT)
Paperlux (GER)
Showroom
Tsto (FIN/USA)
Lazy Snail (GRI/DEN)
Designwork (ITA)
Ingrid Picanyol (ESP)
CL Design (FRA/GBR)
Neue Typographie, Teil 3: Die internationale Bewegung der »Ring neue Werbegestalter«Papier: Kreativkarton, azur in 350 g/qm von Koehler Papier
Cover-Design: Bob Design
Silkscreen printing: Stainer Schriften und Siebdruck
Offset-Druck: f&w Druck- und Mediencenter
Bilder: Tobias HolzmannEn ligne : http://novum.graphics/magazin/magazin-detailseite/detail/novum-0817/ [n° ou bulletin] 08.17 - 2017-08-12 [texte imprimé] . - 2017.
Langues : Allemand (ger) Anglais (eng)
Catégories : Air Canada -- Charte graphique
Aliments -- Conditionnement
Arts graphiques -- 21e siècle
Arts graphiques -- Technique -- Innovations
Compagnies de transport aérien -- Canada -- Design
Hôtels -- 19e siècle -- Vienne (Autriche) -- Décoration
Infographie -- Logiciels
Livres -- Mise en page
Mangas
Nikon (appareils-photo)
Taniguchi, Jirō (1947-2017)
Travail du papier
Typographie -- 21e siècle
Typographie sur le WebIndex. décimale : 766 Arts graphiques Résumé : Wenn es mal wieder so richtig heiß ist, wer träumt dann nicht davon, ins kühle Wasser zu springen oder an einen schönen Ort zu reisen? Auch die neue novum »macht Blau«: Ein Siebdruck-Cover lockt mit satten Farben und im novum + dreht sich in dieser Ausgabe alles ums Reisen.
Passend zur Jahreszeit dreht sich im novum+ der Augustausgabe alles ums Reisen. Mit dem Creative Director von Winkreative sprachen wir über das Redesign von Air Canada, wir stellen das Erscheinungsbild eines Wiener Grand Hotels vor, reisen mit dem Mangaka Jiro Taniguchi nach Venedig und zeigen, mit welch fantastischen Kommunikationsmitteln Großkunden bei einer Reise ausgestattet werden. Es gibt viel spannendes Design rund um das Reisen zu entdecken wie diese und weitere Projekte zeigen
Im Showroom besuchen wir Studios und Gestalter von Amerika bis Griechenland und setzten unsere historische Serie zur Neuen Typographie fort, die sich diese Mal mit dem »Ring neue Werbegestalter« befasst. In der Rubrik »Produktion« fragt Sylvia Lerch nach, was es denn mit Öko-Druckfarben so auf sich hat. Sind sie wirklich umweltfreundlich? In »Focus Typography« stellen wir eine Plattform vor, die hilft, wirklich inklusives Kommunikationsdesign zu schaffen und Felix Scheinberger erklärt, warum das Gehirn in Felsformationen Aliens erkennt und wie man diesen Effekt für die Illustration nutzen kann.
Das Cover
Für diese Ausgabe nutzten wir den Kreativkarton von Koehler Papier. Das Recycling-Papier besteht zu 100 Prozent aus Sekundärfaserstoffen und ist FSC-zertifiziert. Das Material ist in viele bunten Farben erhältlich, wir wählten den leuchtenden Farbton azur. Bedruckt wurde das Material im Siebdruck und durch Überdrucken einiger Stellen konnten wir neben den drei Originalfarben noch einen vierten Ton generieren. Auf dem farbigen Untergrund kommen die satten Siebdruckfarben besonders gut zur Geltung.
Das Cover-Motiv stammt von Bob Design aus London. Die Kreativen experimentieren gern mit Feinpapieren und haben in ihrem Entwurf kurzerhand die Buchstaben des novum-Logos selbst auf Reisen geschickt und spielerisch in ein sommerliches Meer eintauchen lassen.
Note de contenu :
Das finden Sie im Heft
novum+
Winkreative (CAN)
Moodley (AUT)
Lily Design (ISR)
Jiro Taniguchi (JAP)
Dunkelblaufastschwarz (AUT)
Paperlux (GER)
Showroom
Tsto (FIN/USA)
Lazy Snail (GRI/DEN)
Designwork (ITA)
Ingrid Picanyol (ESP)
CL Design (FRA/GBR)
Neue Typographie, Teil 3: Die internationale Bewegung der »Ring neue Werbegestalter«Papier: Kreativkarton, azur in 350 g/qm von Koehler Papier
Cover-Design: Bob Design
Silkscreen printing: Stainer Schriften und Siebdruck
Offset-Druck: f&w Druck- und Mediencenter
Bilder: Tobias HolzmannEn ligne : http://novum.graphics/magazin/magazin-detailseite/detail/novum-0817/ Réservation
Réserver ce document
Exemplaires(1)
Code-barres Cote Support Localisation Section Disponibilité SL 21475 Novum Fascicule ESA Saint-Luc Beaux-Arts - Biblio Disponible
Titre : 09.15 - 2015-09-12 Type de document : texte imprimé Année de publication : 2015 Langues : Allemand (ger) Anglais (eng) Catégories : Arts graphiques
Design
Typographie - DesignIndex. décimale : 766 Arts graphiques Résumé : Our next issue will be different. We experimented with text, typography, white space and large images and we are presenting designers who also leave the trodden paths.
The topic of our September issue is »design & society« and we hope it will be just as inspiring and multifaceted as our society is. The cover too picks up the notion of diversity and comes in 16 different varieties.[n° ou bulletin] 09.15 - 2015-09-12 [texte imprimé] . - 2015.
Langues : Allemand (ger) Anglais (eng)
Catégories : Arts graphiques
Design
Typographie - DesignIndex. décimale : 766 Arts graphiques Résumé : Our next issue will be different. We experimented with text, typography, white space and large images and we are presenting designers who also leave the trodden paths.
The topic of our September issue is »design & society« and we hope it will be just as inspiring and multifaceted as our society is. The cover too picks up the notion of diversity and comes in 16 different varieties.Réservation
Réserver ce document
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Code-barres Cote Support Localisation Section Disponibilité SL 19444 Novum Fascicule ESA Saint-Luc Beaux-Arts - Biblio Disponible
Titre : 07.15 - 2015-07-12 Type de document : texte imprimé Année de publication : 2015 Langues : Allemand (ger) Anglais (eng) Catégories : Arts graphiques
Conditionnement
Design
Société de consommation -- Critique
Typographie - DesignIndex. décimale : 766 Arts graphiques Résumé : I am a great fan of beautiful and clever packaging – the sort that delights the eye, sets the product off in the right way and tempts you to buy. In the food sector you see this less and less, because all the regulatory information on content and nutrition, origin and processing, environmental symbols and codes, leaves precious little space for design. And, as if all that visual chaos on such a small space were not enough, the manufacturers then invent their own seals to add to the general confusion.
All kinds of claims are made, including the much flaunted »locally produced« label. Legally and in actual fact this has absolutely no relevance and truth about it at all: a milk can be labelled »from our region« even if only the closure on the Tetra Pak was fitted on locally! Suspicions should arise latest when you see a pack of coconut milk being described as »regional« … Studies that have found that consumers, given two identical jams to try, like the taste of the one claiming to be »regional«, and would be happy to pay more for it! So the label alone can enhance the taste experience – an uncomfortable fact and renewed proof that the critical consumer isn’t perhaps as critical as he likes to think he is.
The design world makes good use of this knowledge: The regional link is communicated, megaphone-style, with words like »country«, »natural«, »regional«, »local«, implying that anything coming from elsewhere has got to have something wrong with it. A curly handwriting-style font is a popular choice for these messages, as if the produce had just come out of grandma’s kitchen. Sometimes the »advantages« are pronounced in aggressive capitals, followed by an exclamation mark, for those who haven’t yet got it. Often it’s all in green and with such a dilettante look that you are tempted to believe that Farmer Huber himself got all creative after finishing the milking. The products from the big manufacturers are particularly noticeable: Like preserves-producer Schwartau, with its »Farmhouse marmalade« … a little bit of bucolic heaven for all the SUV drivers who can’t make it to one of the real farm shops (which do indeed exist!). Schwartau had to delete the »local fruit« claim from the label of one of its jams, because the fruit came from Poland, the Baltic States and Southeastern Europe, as the consumer magazine Öko-Test uncovered.
But it’s not only marketing that has discovered the lure of local and
regional. The far right, too, are attracted by these associations. A while ago, for example, the neo-Nazi NPD party published a campaign called »Buy German products!« The ominous historic echoes of this exhortation were enough to awaken an appetite in me – and many others – for Italian strawberries and Spanish tomatoes.
To be fair, we mustn’t let these things deter us – it is indeed a good and sensible thing to buy local or regional. But the manufacturers in turn should only use these words when the ingredients do in fact come from local or regional sources. All this fudging of facts on labels will sooner or later completely undermine this USP. And what about the designer? Perhaps s/he could draw the attention of producers of non-regional products to other qualities – because when everything else is wrapping itself in »regional« laurels, then maybe a thirst for the exotic will develop.
Enjoy the summer!
Bettina SchulzEn ligne : http://www.novumnet.de/en/world-of-novum/current-issue/072015/first/editorial.ht [...] [n° ou bulletin] 07.15 - 2015-07-12 [texte imprimé] . - 2015.
Langues : Allemand (ger) Anglais (eng)
Catégories : Arts graphiques
Conditionnement
Design
Société de consommation -- Critique
Typographie - DesignIndex. décimale : 766 Arts graphiques Résumé : I am a great fan of beautiful and clever packaging – the sort that delights the eye, sets the product off in the right way and tempts you to buy. In the food sector you see this less and less, because all the regulatory information on content and nutrition, origin and processing, environmental symbols and codes, leaves precious little space for design. And, as if all that visual chaos on such a small space were not enough, the manufacturers then invent their own seals to add to the general confusion.
All kinds of claims are made, including the much flaunted »locally produced« label. Legally and in actual fact this has absolutely no relevance and truth about it at all: a milk can be labelled »from our region« even if only the closure on the Tetra Pak was fitted on locally! Suspicions should arise latest when you see a pack of coconut milk being described as »regional« … Studies that have found that consumers, given two identical jams to try, like the taste of the one claiming to be »regional«, and would be happy to pay more for it! So the label alone can enhance the taste experience – an uncomfortable fact and renewed proof that the critical consumer isn’t perhaps as critical as he likes to think he is.
The design world makes good use of this knowledge: The regional link is communicated, megaphone-style, with words like »country«, »natural«, »regional«, »local«, implying that anything coming from elsewhere has got to have something wrong with it. A curly handwriting-style font is a popular choice for these messages, as if the produce had just come out of grandma’s kitchen. Sometimes the »advantages« are pronounced in aggressive capitals, followed by an exclamation mark, for those who haven’t yet got it. Often it’s all in green and with such a dilettante look that you are tempted to believe that Farmer Huber himself got all creative after finishing the milking. The products from the big manufacturers are particularly noticeable: Like preserves-producer Schwartau, with its »Farmhouse marmalade« … a little bit of bucolic heaven for all the SUV drivers who can’t make it to one of the real farm shops (which do indeed exist!). Schwartau had to delete the »local fruit« claim from the label of one of its jams, because the fruit came from Poland, the Baltic States and Southeastern Europe, as the consumer magazine Öko-Test uncovered.
But it’s not only marketing that has discovered the lure of local and
regional. The far right, too, are attracted by these associations. A while ago, for example, the neo-Nazi NPD party published a campaign called »Buy German products!« The ominous historic echoes of this exhortation were enough to awaken an appetite in me – and many others – for Italian strawberries and Spanish tomatoes.
To be fair, we mustn’t let these things deter us – it is indeed a good and sensible thing to buy local or regional. But the manufacturers in turn should only use these words when the ingredients do in fact come from local or regional sources. All this fudging of facts on labels will sooner or later completely undermine this USP. And what about the designer? Perhaps s/he could draw the attention of producers of non-regional products to other qualities – because when everything else is wrapping itself in »regional« laurels, then maybe a thirst for the exotic will develop.
Enjoy the summer!
Bettina SchulzEn ligne : http://www.novumnet.de/en/world-of-novum/current-issue/072015/first/editorial.ht [...] Réservation
Réserver ce document
Exemplaires(1)
Code-barres Cote Support Localisation Section Disponibilité SL 19443 Novum Fascicule ESA Saint-Luc Beaux-Arts - Biblio Disponible
Titre : 08.15 - 2015-08-12 Type de document : texte imprimé Année de publication : 2015 Langues : Allemand (ger) Anglais (eng) Catégories : Arts graphiques
Communication en design
Design
Livres d'artistes
Papier - Fabrication
Tourisme
Typographie - DesignIndex. décimale : 766 Arts graphiques Résumé : A tough call – but a necessary one, in a world where too often good ideas, launched to serve society, somehow degenerate into constructs that benefit the few at the expense of the many.
What started out innocently as »couch surfing« – not just a cheap form of accommodation for low-budget travellers, but also a real opportunity to experience local life, away from the standardised international hotels – turned into Airbnb. That in itself is not reprehensible – why shouldn’t someone who sets up a functioning platform also pursue his own commercial ends? So far, so good: a win-win situation for both sides. But, living space being famously in short supply in the top destinations, some locals have no qualms about offering even cellar rooms for maximum profit. So, what better than to go for this kind of practical rental arrangement: Why let out a 30 m2 apartment in Munich for only 800 euros a month, when you can get 50 euros per day from passing travellers? The inevitable result: even less affordable accommodation available to locals. That’s got as much to do with social cohesion as subsidising coal at the same time as switching over to clean energy. But this too is a natural reflex: Many complain about rising rents and how long it takes to find a flat, but when looking to save a few euros on the next city break, they book on Airbnb while at the same time calling indignantly for a cap on rent rises.
The hype surrounding sharing platforms on the web is also fascinating. At first sight it seems very sensible from an economic and ecological point of view: Nobody needs to buy all that stuff. When it comes to small items it all works very well – like when neighbours share a lawnmower they got together to buy. Now, as we know, humankind has never managed to get a truly »social« society to work – history tells us that much. It just doesn’t seem to be in our DNA. So, with these sharesites, too, there’s an unequal balance: The idealism of one group is sadly often torpedoed by the self-serving actions of a few. The feeling of freedom on the part of those who don’t want to »burden themselves« with material things, i.e. don’t have any possessions (or don’t want to pay for them), is supported by the goodwill of those who do invest in these things and then share them. A truly sharing system only works when everyone makes a contribution to it, and not, as some do, tries to live out their own personal philosophy of life on the backs of others, all the time accusing those others of wasting resources. Ergo: If you criticise your friends for owning a car in a city (how unnecessary!), then don’t ask those friends for a lift the next time they are going to Ikea …
A truly responsible lifestyle in today’s world should in my eyes go beyond just ecological and economic aspects:
It needs the added dimension of community spirit. It’s not enough to live out one’s own personal sustainability program, ignoring the consequences for other people: That way lies only egoism, even though this may not have been the original intention.
I hope you are having a wonderful summer,
Bettina SchulzEn ligne : http://www.novumnet.de/en/world-of-novum/current-issue/082015/first/editorial.ht [...] [n° ou bulletin] 08.15 - 2015-08-12 [texte imprimé] . - 2015.
Langues : Allemand (ger) Anglais (eng)
Catégories : Arts graphiques
Communication en design
Design
Livres d'artistes
Papier - Fabrication
Tourisme
Typographie - DesignIndex. décimale : 766 Arts graphiques Résumé : A tough call – but a necessary one, in a world where too often good ideas, launched to serve society, somehow degenerate into constructs that benefit the few at the expense of the many.
What started out innocently as »couch surfing« – not just a cheap form of accommodation for low-budget travellers, but also a real opportunity to experience local life, away from the standardised international hotels – turned into Airbnb. That in itself is not reprehensible – why shouldn’t someone who sets up a functioning platform also pursue his own commercial ends? So far, so good: a win-win situation for both sides. But, living space being famously in short supply in the top destinations, some locals have no qualms about offering even cellar rooms for maximum profit. So, what better than to go for this kind of practical rental arrangement: Why let out a 30 m2 apartment in Munich for only 800 euros a month, when you can get 50 euros per day from passing travellers? The inevitable result: even less affordable accommodation available to locals. That’s got as much to do with social cohesion as subsidising coal at the same time as switching over to clean energy. But this too is a natural reflex: Many complain about rising rents and how long it takes to find a flat, but when looking to save a few euros on the next city break, they book on Airbnb while at the same time calling indignantly for a cap on rent rises.
The hype surrounding sharing platforms on the web is also fascinating. At first sight it seems very sensible from an economic and ecological point of view: Nobody needs to buy all that stuff. When it comes to small items it all works very well – like when neighbours share a lawnmower they got together to buy. Now, as we know, humankind has never managed to get a truly »social« society to work – history tells us that much. It just doesn’t seem to be in our DNA. So, with these sharesites, too, there’s an unequal balance: The idealism of one group is sadly often torpedoed by the self-serving actions of a few. The feeling of freedom on the part of those who don’t want to »burden themselves« with material things, i.e. don’t have any possessions (or don’t want to pay for them), is supported by the goodwill of those who do invest in these things and then share them. A truly sharing system only works when everyone makes a contribution to it, and not, as some do, tries to live out their own personal philosophy of life on the backs of others, all the time accusing those others of wasting resources. Ergo: If you criticise your friends for owning a car in a city (how unnecessary!), then don’t ask those friends for a lift the next time they are going to Ikea …
A truly responsible lifestyle in today’s world should in my eyes go beyond just ecological and economic aspects:
It needs the added dimension of community spirit. It’s not enough to live out one’s own personal sustainability program, ignoring the consequences for other people: That way lies only egoism, even though this may not have been the original intention.
I hope you are having a wonderful summer,
Bettina SchulzEn ligne : http://www.novumnet.de/en/world-of-novum/current-issue/082015/first/editorial.ht [...] Réservation
Réserver ce document
Exemplaires(1)
Code-barres Cote Support Localisation Section Disponibilité SL 19442 Novum Fascicule ESA Saint-Luc Beaux-Arts - Biblio Disponible
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