tag:blogger.com,1999:blog-90870432693826095282024-02-01T23:03:59.181-08:00El librero del diseñador AnáhuacLeemos para crear. Porque entre la página y el trazo, la creatividad juega y se enriquece con experiencias, nombres y miradas. Este es un espacio creado para el fomento a la lectura, la reflexión sobre los conceptos más relevantes en nuestras disciplinas, así como la comunicación entre nuestra comunidad académica (alumnos y profesores)y el mundo, desde la Escuela de Diseño de la Universidad Anáhuac.Mónica Puigferrathttp://www.blogger.com/profile/07067335476804457405noreply@blogger.comBlogger221125tag:blogger.com,1999:blog-9087043269382609528.post-90093906626985590132013-04-25T18:09:00.001-07:002013-04-25T18:09:00.640-07:00<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: Arial, Helvetica, sans-serif;">Jewelry design. Kowalski, C. (2008) Cologne, Germany: Daab.</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">Jewelry is commonly perceived as a beautiful piece of wearable art: stand-alone, sculptural, and aloof. However, in order to understand contemporary jewelry design, we need to view the work as we would the product of any design field: as conceptual projects, as material studies, as social commentaries, and as connections to the past. The various creations by international designers presented in this book give us an outline on current trends and developments in the field of jewelry. Their work is presented as a snapshot of individual practices, a broad sampling of innovative creations and forward-looking designers. What unites them are everyday considerations on context and production. Pictures as well as information on crafting techniques and materials underline the infinite creative potential of jewelry design. An index with contact information is enclosed.</span></div>
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<br />Mónica Puigferrathttp://www.blogger.com/profile/07067335476804457405noreply@blogger.com0tag:blogger.com,1999:blog-9087043269382609528.post-35387745089543566792013-04-25T18:06:00.003-07:002013-04-25T18:06:37.222-07:00<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: Arial, Helvetica, sans-serif;">Indiferencias fotográficas y ética de la imagen periodística. Fontcuberta, J. (2011) Gustavo Gili. España</span><br />
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<span style="background-color: white; color: #333333; font-size: 12px; line-height: 19px; text-align: justify;"><span style="font-family: Arial, Helvetica, sans-serif;">EN LA PRIMERA DÉCADA DEL SIGLO XXI, UNA PREMIADA IMAGEN DEL FOTOPERIODISTA JAVIER BAULUZ Y OTRA DE CLEMENTE BERNAD PROTAGONIZARON DOS SONADAS POLÉMICAS. SIN ENTRAR EN EL FONDO DEL DEBATE, JOAN FONTCUBERTA INTERPRETA LAS RAZONES ESGRIMIDAS, CAMUFLADAS BAJO UN MANTO DE INDIFERENCIAS CRUZADAS. ¿ES LA CÁMARA INDIFERENTE AL SUCESO FOTOGRAFIADO? ¿SE PUEDE FOTOGRAFIAR LA INDIFERENCIA? ¿PUEDEN FOTÓGRAFO Y MODELO MANTENERSE INDIFERENTES? ¿ES LA FOTOGRAFÍA INDIFERENTE AL SOPORTE QUE LA VEHICULIZA? TRAS ESAS CUESTIONES CABE DESENTRAÑAR DIFERENTES FORMULACIONES DE LO FOTOGRÁFICO. DISCUTIR VALORES ÉTICOS E IDEOLÓGICOS IMPLICA ENTONCES CONFRONTARNOS CON MODELOS TEÓRICOS E HISTORIOGRÁFICOS PREVIOS. PERO TODO ELLO NO ES MÁS QUE LA COARTADA QUE PERMITE A FONTCUBERTA ENTREGARSE A SU OBSESIÓN DE SIEMPRE: LA FRÁGIL, DOLOROSA RELACIÓN DE LA IMAGEN CON LA VERDAD. JOAN FONTCUBERTA (BARCELONA, 1955) ES FOTÓGRAFO, CRÍTICO Y PROFESOR. ADEMÁS DE SU PROLÍFICA OBRA FOTOGRÁFICA, HA REALIZADO UNA IMPORTANTE LABOR COMO ENSAYISTA, EDITOR Y COMISARIO, CON INICIATIVAS COMO LA FUNDACIÓN EN 1980 DE LA REVISTA PHOTOVISION, LA CO-FUNDACIÓN EN 1982 DE LA PRIMAVERA FOTOGRÁFICA DE BARCELONA O LA DIRECCIÓN ARTÍSTICA EN 1996 DEL FESTIVAL INTERNACIONAL DE FOTOGRAFÍA DE ARLES. TAMBIÉN HA SIDO PROFESOR EN DIFERENTES CENTROS Y UNIVERSIDADES EUROPEOS Y NORTEAMERICANOS Y EN ACTUALIDAD EJERCE LA DOCENCIA EN LOS ESTUDIOS DE COMUNICACIÓN AUDIOVISUAL DE LA UNIVERSITAT POMPEU FABRA DE BARCELONA</span></span>Mónica Puigferrathttp://www.blogger.com/profile/07067335476804457405noreply@blogger.com0tag:blogger.com,1999:blog-9087043269382609528.post-66020297921624151332013-04-25T18:04:00.001-07:002013-04-25T18:04:47.556-07:00<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpuSciveU9ngk81n9FObtG5Yky7eZmrgwDSGFHgke2KGRcYWSgK-sl5-6DMW2f2UH27KsPOvuf4R6fl84wl9dxqTZM2AiYIiUM1nxCpuicCVN1trcBL1Ufrrhyphenhyphen4bwVXLSTy8Pxyx6WqMk/s1600/9788425222610.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpuSciveU9ngk81n9FObtG5Yky7eZmrgwDSGFHgke2KGRcYWSgK-sl5-6DMW2f2UH27KsPOvuf4R6fl84wl9dxqTZM2AiYIiUM1nxCpuicCVN1trcBL1Ufrrhyphenhyphen4bwVXLSTy8Pxyx6WqMk/s1600/9788425222610.jpg" /></a></div>
<span style="font-family: Arial, Helvetica, sans-serif;">Imágenes en secuencia. Wigan, M. (2007) Barcelona: Gustavo Gili.</span><br />
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<span style="background-color: white; color: #333333; font-size: 12px; line-height: 19px; text-align: justify;"><span style="font-family: Arial, Helvetica, sans-serif;">LA PLASMACIÓN DE UN TEXTO EN IMÁGENES, EL ACOMPAÑAMIENTO GRÁFICO DE UNA NARRACIÓN O LA CREACIÓN DE UN RELATO VISUAL PRESENTAN UNOS DESAFÍOS ESPECÍFICOS PARA EL ILUSTRADOR QUE EXIGEN DE ÉL UN CONOCIMIENTO SÓLIDO DE LAS LEYES DE LA GRAMÁTICA VISUAL. LA CONVERGENCIA DEL DESARROLLO TECNOLÓGICO CON LAS TÉCNICAS DE LA ILUSTRACIÓN ABRE NUEVOS MUNDOS DE POSIBILIDADES PARA EL NARRADOR GRÁFICO. SUS RELATOS PUEDEN ALCANZAR UN NIVEL DE SOFISTICACIÓN ANTES INIMAGINADO, PERO SE MULTIPLICA EL RIESGO DE PERDERSE EN UN PASTICHE QUE NO CONSIGA COMUNICAR CON EL ESPECTADOR. TRAS EL ÉXITO DE PENSAR VISUALMENTE, DONDE ABORDABA LOS PRINCIPIOS BÁSICOS DE LA ILUSTRACIÓN, MARK WIGAN EXPLORA EN IMÁGENES EN SECUENCIA LAS ESTRATEGIAS IMAGINATIVAS Y LAS METODOLOGÍAS ÚTILES PARA CONSTRUIR Y ORGANIZAR EFICAZMENTE LA NARRACIÓN VISUAL. SU MIRADA MULTIDISCIPLINAR, QUE ABARCA DESDE EL RECORRIDO HISTÓRICO POR EL MUNDO DEL CÓMIC Y LA CINEMATOGRAFÍA HASTA EL PANORAMA ACTUAL DEL ARTE VISUAL DE CLUB Y LOS FESTIVALES MULTIMEDIA, NOS ACERCA A LOS PRINCIPIOS FUNDAMENTALES DEL LENGUAJE DE LAS IMÁGENES SECUENCIALES DE UNA FORMA ÁGIL Y VINCULADA A LA PRÁCTICA.</span></span>Mónica Puigferrathttp://www.blogger.com/profile/07067335476804457405noreply@blogger.com0tag:blogger.com,1999:blog-9087043269382609528.post-51832922628430753122013-04-25T18:03:00.002-07:002013-04-25T18:03:30.650-07:00<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihFZvZBt2-YBMO0GTxVhOd83nR0NO4V49E_QAi3h8c-dY1cZiIhoucnQpPvrHevumaY6SHxT7NgiS_ZIU-lerCjgeSON-BrTzh6wdxStX1YCisYkX_lyj2x6SiG7PdFbmNYlqY2bThTP8/s1600/9786070301308.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihFZvZBt2-YBMO0GTxVhOd83nR0NO4V49E_QAi3h8c-dY1cZiIhoucnQpPvrHevumaY6SHxT7NgiS_ZIU-lerCjgeSON-BrTzh6wdxStX1YCisYkX_lyj2x6SiG7PdFbmNYlqY2bThTP8/s1600/9786070301308.jpg" /></a></div>
<span style="font-family: Arial, Helvetica, sans-serif;">Imagen, Icono, Ilusión. Flo, J. (2010) México: Siglo XXI</span><div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="background-color: white; color: #333333; font-size: 12px; line-height: 19px; text-align: justify;">JUAN FLÓ EMPRENDE UNA RIGUROSA EMPRESA DE EXAMEN DE LOS CONCEPTOS NODALES CON LOS QUE HOY TRABAJAN SEMIÓLOGOS Y COMUNICÓLOGOS, DISEÑADORES Y SOCIÓLOGOS DE LA CULTURA VISUAL: SU PUNTO DE PARTIDA ES LA REVISIÓN DE LA IDEA MISMA DE LA IMAGEN Y EL CUESTIONAMIENTO AL CONCEPTO DE SIGNO ICÓNICO. ESTA OBRA ESTUDIA LOS PRINCIPALES PROBLEMAS QUE PLANTEA LA TEORÍA DE LA IMAGEN DESDE LA REFLEXIÓN DEL "VER" EN WITTGENSTEIN HASTA LAS CUESTIONES INVOLUCRADAS EN LAS TEORÍAS DE LA IMAGEN COMO ILUSIÓN</span></span><br /></div>
Mónica Puigferrathttp://www.blogger.com/profile/07067335476804457405noreply@blogger.com0tag:blogger.com,1999:blog-9087043269382609528.post-58368350889323401062013-04-25T18:01:00.003-07:002013-04-25T18:01:55.690-07:00<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: Arial, Helvetica, sans-serif;">Human Dimension and interior Space: A source book of design reference standards. Panero, J. (1979) USA: Watson-Guptill.</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">The study of human body measurements on a comparative basis is known as anthropometrics. Its applicability to the design process is seen in the physical fit, or interface, between the human body and the various components of interior space.<br /><br /><i>Human Dimension and Interior Space</i> is the first major anthropometrically based reference book of design standards for use by all those involved with the physical planning and detailing of interiors, including interior designers, architects, furniture designers, builders, industrial designers, and students of design. The use of anthropometric data, although no substitute for good design or sound professional judgment should be viewed as one of the many tools required in the design process. This comprehensive overview of anthropometrics consists of three parts.<br /><br />The first part deals with the theory and application of anthropometrics and includes a special section dealing with physically disabled and elderly people. It provides the designer with the fundamentals of anthropometrics and a basic understanding of how interior design standards are established. The second part contains easy-to-read, illustrated anthropometric tables, which provide the most current data available on human body size, organized by age and percentile groupings. Also included is data relative to the range of joint motion and body sizes of children. The third part contains hundreds of dimensioned drawings, illustrating in plan and section the proper anthropometrically based relationship between user and space. The types of spaces range from residential and commercial to recreational and institutional, and all dimensions include metric conversions.<br /><br />In the Epilogue, the authors challenge the interior design profession, the building industry, and the furniture manufacturer to seriously explore the problem of adjustability in design. They expose the fallacy of designing to accommodate the so-called average man, who, in fact, does not exist. Using government data, including studies prepared by Dr. Howard Stoudt, Dr. Albert Damon, and Dr. Ross McFarland, formerly of the Harvard School of Public Health, and Jean Roberts of the U.S. Public Health Service, Panero and Zelnik have devised a system of interior design reference standards, easily understood through a series of charts and situation drawings. With <i>Human Dimension and Interior Space</i>, these standards are now accessible to all designers of interior environments.</span></div>
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Mónica Puigferrathttp://www.blogger.com/profile/07067335476804457405noreply@blogger.com1tag:blogger.com,1999:blog-9087043269382609528.post-32570731226411840742013-04-25T17:58:00.002-07:002013-04-25T17:58:47.011-07:00<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: Arial, Helvetica, sans-serif;">H-Ponit: The fundamentals of car design and packaging. Macey, S. (2009) USA: Design Studio Press.</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">Compiled for aspiring car creators everywhere, H-Point provides a unique and comprehensive introduction to advanced vehicle packaging and design. Written and illustrated by Stuart Macey with Geoff Wardle, this book demystifies the automotive design process and allows designers access to an illustrious careers worth of knowledge. Stuart currently works as a studio engineer at the Hyundai Design North America studio in Southern California and teaches vehicle architecture part time at Art Center College of Design. Geoff is Director of Advanced Mobilty at Art Centertry</span></div>
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Mónica Puigferrathttp://www.blogger.com/profile/07067335476804457405noreply@blogger.com0tag:blogger.com,1999:blog-9087043269382609528.post-90831767024723386062013-04-25T17:56:00.002-07:002013-04-25T17:56:42.728-07:00<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgo3ck6C2dX68WC-9M1la04M1JHtgqeWqKbYfGbBZA3Jgf4RS0AiJamr30oDA45f4ZEbcwntDwpUBHB2pnSzJfkV44DMXd9c0p5z0Q9PVCU0oqSMab32xWugn29MhTD4UY0rLBcd0ABXRA/s1600/fantastic-plastic-product-design-and-consumer-culture.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgo3ck6C2dX68WC-9M1la04M1JHtgqeWqKbYfGbBZA3Jgf4RS0AiJamr30oDA45f4ZEbcwntDwpUBHB2pnSzJfkV44DMXd9c0p5z0Q9PVCU0oqSMab32xWugn29MhTD4UY0rLBcd0ABXRA/s320/fantastic-plastic-product-design-and-consumer-culture.jpg" width="231" /></a></div>
<span style="font-family: Arial, Helvetica, sans-serif;">Fantastic Plastic: Product design + Consumer culture. Mossman, S (2008) London, UK: Black Dog Publications.</span><br />
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<span style="background-color: white; font-size: x-small;"><span style="font-family: Arial, Helvetica, sans-serif;">Plastics have been the defining material of the twentieth century. From the first man-made plastics in 1862 to the patenting of Celluloid in 1870, plastics originally provided an attractive replacement for ivory, tortoiseshell and bone. In Fantastic Plastic contemporary designers, artists and scientists explore the evolution of this ubiquitous and endlessly malleable material, through its trademarked names--Spandex, Teflon, Nylon, Rayon, Tupperware--through to looking at how its function and reputation have changed over its lifetime. Plastics have been used in the manufacture of everything from toys, to furniture, to clothes and has played its part in the creation of contemporary design icons from the ipod to the Tom Vac chair.</span></span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">Fantastic Plastic shows how product design has developed and considers its usability, technology and appearance. The history of plastics is in so many ways the history of contemporary industrial design and the book provides a fascinating look at how designs using plastics can be considered as works of art, as well as objects of our everyday lives. Fantastic Plastic provides a comprehensive survey of the ecological, technological and aesthetic qualities of plastic and considers the future of the material that has made such a mark on contemporary life.</span></div>
Mónica Puigferrathttp://www.blogger.com/profile/07067335476804457405noreply@blogger.com0tag:blogger.com,1999:blog-9087043269382609528.post-57069417158118354432013-04-25T17:50:00.001-07:002013-04-25T17:50:32.987-07:00<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: Arial, Helvetica, sans-serif;">Estética de los objetos. Francalanci, E (2010) México: Machado Grupo de distribución.</span><br />
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<span style="background-color: white; color: #333333; font-size: 12px; line-height: 19px; text-align: justify;"><span style="font-family: Arial, Helvetica, sans-serif;">Entre los estudios filosóficos contemporáneos muy pocos hacen referencia al fenómeno de la estética difusa como característica peculiar de la era posmoderna. Ello se debe a la pervivencia de una idea aún "moderna" de la estética, entendida en este caso como "filosofía del arte" o como "teoría del sentir", la cual tiende a atribuir al sujeto la razón del cada vez más vivo interés hacia los aspectos formales, frente a los de contenido, de la realidad; de ahí que resulte difícil encontrar en la multitud de estudios filosóficos sobre estética investigaciones que consideren desde el punto de vista social, político y antropológico su alcance planetario, causado por la difusión de la técnica. </span></span>Mónica Puigferrathttp://www.blogger.com/profile/07067335476804457405noreply@blogger.com0tag:blogger.com,1999:blog-9087043269382609528.post-45045964326622020462013-04-25T17:45:00.001-07:002013-04-25T17:45:05.689-07:00<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEij0kouQL1GnFBlw-X6zoFvv4DADSOU-2tro7F4WVzpqY8u1ACsx_dUDjLBlJeY7vlPXc4ChSRB07waHMJU9RKzsQVBDVxHXbs1SZjq8Gifq5rnjsxMK9Y1H4iomg-_FoiW7nBtYAgTXkA/s1600/9788425220289.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEij0kouQL1GnFBlw-X6zoFvv4DADSOU-2tro7F4WVzpqY8u1ACsx_dUDjLBlJeY7vlPXc4ChSRB07waHMJU9RKzsQVBDVxHXbs1SZjq8Gifq5rnjsxMK9Y1H4iomg-_FoiW7nBtYAgTXkA/s1600/9788425220289.jpg" /></a></div>
<span style="font-family: Arial, Helvetica, sans-serif;">El mundo como proyecto. Aicher, O. (2007) Barcelona: Gustavo Gili</span>Mónica Puigferrathttp://www.blogger.com/profile/07067335476804457405noreply@blogger.com0tag:blogger.com,1999:blog-9087043269382609528.post-13135162691354769232013-04-25T17:43:00.003-07:002013-04-25T17:43:54.601-07:00<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6morf4ykA9XmbAol4qQ7DzGK7aMboHi1PM509HHrlePzs7n5mD3hjUuCb1FvyaqejL0cInDF2uPNAwCGWcxhyphenhyphenf9zVmbZJjgZa1Hm1mVJt1voEt97k5MeVnDfgHzsPj8Dx_rmHcEPoZbg/s1600/9788425221620_06_x.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6morf4ykA9XmbAol4qQ7DzGK7aMboHi1PM509HHrlePzs7n5mD3hjUuCb1FvyaqejL0cInDF2uPNAwCGWcxhyphenhyphenf9zVmbZJjgZa1Hm1mVJt1voEt97k5MeVnDfgHzsPj8Dx_rmHcEPoZbg/s1600/9788425221620_06_x.jpg" /></a></div>
<span style="font-family: Arial, Helvetica, sans-serif;">El libro de la tipografía. Frutiger, A. (2007) Barcelona: Gustavo Gili</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>Mónica Puigferrathttp://www.blogger.com/profile/07067335476804457405noreply@blogger.com0tag:blogger.com,1999:blog-9087043269382609528.post-1691819686602268432013-04-25T17:40:00.002-07:002013-04-25T17:40:22.611-07:00<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWQLeOEnIl-lKFZ3_C3z-ARMQHsrf-Nx1GsdLCWnInM80Brmy3n-U6Z7iOFI4wDDEUCCfv7SSjeevuyT1ymZosY0f4mkf696thj_4xN7bDieY0Bkl1gcJgGHHVoy_Eh3t9HIdvjXfavvQ/s1600/9788425223280.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWQLeOEnIl-lKFZ3_C3z-ARMQHsrf-Nx1GsdLCWnInM80Brmy3n-U6Z7iOFI4wDDEUCCfv7SSjeevuyT1ymZosY0f4mkf696thj_4xN7bDieY0Bkl1gcJgGHHVoy_Eh3t9HIdvjXfavvQ/s1600/9788425223280.jpg" /></a></div>
<span style="font-family: Arial, Helvetica, sans-serif;">Diseño Ecológico. 1000 ejemplos. Proctor, R. (2009) Barcelona: Gustavo Gili.</span><div>
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<span style="background-color: white; font-size: 11px; text-align: left;"><span style="font-family: Arial, Helvetica, sans-serif;">D</span></span><span style="background-color: white; font-size: 11px; text-align: left;"><span style="font-family: Arial, Helvetica, sans-serif;">iseño ecológico. 1000 ejemplos es un catálogo de productos cuyo diseño integra belleza y responsabilidad ecológica, una guía útil para orientarse en los complejos vericuetos tanto de la selección como de la creación de productos para la decoración del hogar cuya producción sea respetuosa con el medio ambiente. Incluye mesas, sillas y sofás, camas, accesorios de decoración, mantelerías, muebles de jardín, productos para niños, revestimientos de suelos y paredes, cocinas, baños, unidades de almacenamiento y productos de gran consumo, diseñados por algunos de los mejores diseñadores y estudios del momento, como Droog, Tom Dixon, Giles Miller, Edra y Durat. Este libro es un recurso ideal para los consumidores y una guía fundamental para los estudiantes que se adentren en el campo del diseño sostenible.</span></span><span style="font-family: Arial, Helvetica, sans-serif;"><br /></span><br /></div>
Mónica Puigferrathttp://www.blogger.com/profile/07067335476804457405noreply@blogger.com0tag:blogger.com,1999:blog-9087043269382609528.post-30413545878393774442013-04-25T17:38:00.001-07:002013-04-25T17:38:22.413-07:00<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh02LPHsXvo37KO3K2VBmuXWwPZiAkIEFpnVXYQectPeRoIss2pMQLraIY1TBlYAhphxB3cZSo2uskgP7xw3x6h_s6FYNXqGYZeaJqLrKcjs7UU-d04Ko_rL2QgZiB27QOk4Yy8BGrprc4/s1600/9788425215384_06_x.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh02LPHsXvo37KO3K2VBmuXWwPZiAkIEFpnVXYQectPeRoIss2pMQLraIY1TBlYAhphxB3cZSo2uskgP7xw3x6h_s6FYNXqGYZeaJqLrKcjs7UU-d04Ko_rL2QgZiB27QOk4Yy8BGrprc4/s1600/9788425215384_06_x.jpg" /></a></div>
<span style="font-family: Arial, Helvetica, sans-serif;">Diseño Audiovisual. Rafols, R. y Colomer, A. (2011) Barcelona: Gustavo Gili.</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Este libro pretende hacer llegar al lector una reflexión teórica y práctica sobre el diseño audiovisual. Por ello, su lectura resultará útil tanta al profesional que desee reflexionar sobre su trabajo como al estudiante que se acerque por primera vez a tan apasionante disciplina.<br /><br />El doble perfil profesional y pedagógico de los autores, ambos licenciados en Bellas Artes por la Universidad de Barcelona, ha contribuido a la elaboración de un discurso ágil y concreto.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><b>Rafael Ràfols</b> es el responsable de grafismo de los informativos de Televisió de Catalunya y profesor de Diseño Audiovisual en la Facultat de Ciéncies de la Comunicació de la Universitat Ramon Llull.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><b>Antoni Colomer</b> es asesor artístico del departamento de marketing y promoción de Televisió de Catalunya e imparte clases de Diseño Audiovisual en la Facultat de Ciéncies de la Comunicació de la Universitat Ramon Llull.</span></div>
Mónica Puigferrathttp://www.blogger.com/profile/07067335476804457405noreply@blogger.com0tag:blogger.com,1999:blog-9087043269382609528.post-70207388160927908912013-04-25T17:24:00.003-07:002013-04-25T17:24:24.963-07:00<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjv8kMT0IFgSi62PNKrwJmjZQY0jmgGu5pZg6gUxjVx64S8uLMWblp8WUKL-jdkfbsMO2LvWm75tVE8vRFPlzSi_Nqn1h7lWarzC2Y9a2h_xFF5j6oHGgJ0AymuqkaF0et3wAfcZk3Uulg/s1600/41BH94M6VEL._BO2,204,203,200_PIsitb-sticker-arrow-click,TopRight,35,-76_SX225_SY300_CR,0,0,225,300_SH20_OU01_.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjv8kMT0IFgSi62PNKrwJmjZQY0jmgGu5pZg6gUxjVx64S8uLMWblp8WUKL-jdkfbsMO2LvWm75tVE8vRFPlzSi_Nqn1h7lWarzC2Y9a2h_xFF5j6oHGgJ0AymuqkaF0et3wAfcZk3Uulg/s1600/41BH94M6VEL._BO2,204,203,200_PIsitb-sticker-arrow-click,TopRight,35,-76_SX225_SY300_CR,0,0,225,300_SH20_OU01_.jpg" /></a></div>
<span style="font-family: Arial, Helvetica, sans-serif;">Digital 3d Design. Danaher, S. (2004) Cambridge, UK: Ilex Press.</span><br />
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<i style="background-color: white; font-family: verdana, arial, helvetica, sans-serif; font-size: small;">D</i><span style="font-family: Arial, Helvetica, sans-serif;"><i style="background-color: white; font-size: small;">igital 3D Design: The Use of 3D Applications in Digital Graphic Design</i><span style="background-color: white; font-size: x-small;"> is a compact and visually loaded introduction to 3-D design. With 3-D graphics and animations popping up all over, in movies, computer games, and retail Web sites, many are looking for an entry into this exciting career. But all of the terms, jargon, and applications can be daunting. Author Simon Danaher, an expert in 3-D computer graphics, lays out an accessible and colorfully illustrated guide to it all. His approach will be especially welcome to those already experienced with 2-D paint or vector applications since there are some common themes.</span></span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">A better subtitle might have been <i>Beyond Shiny Chrome Balls and Neon Skies</i>, because the book quickly takes readers past those fairly basic fantasy-style images and on to more sophisticated modeling. It begins with a bit of history and a brief profile of the major 3-D applications such as Maya, 3D Studio Max, Poser, and many others. The next 60 pages cover core concepts like modeling, spline patches, NURBS, and raytracing. In later sections, "lessons" cover more concepts in detail, for example, tessellation, keyframe animation, and UV texture mapping. Although these aren't quite step-by-step lessons, there are plenty of screenshots and Danaher clearly outlines what goes into each process. The book finishes by showing different uses of 3-D computer graphics, for example, on the Web (including VRML and Java 3D), in architecture, and in product design. And there's a nice glossary of terms.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">This is not a how-to focusing on any specific software, but rather a look at the big picture of 3-D design. <i>Digital 3D Design</i> will be a welcome introduction for those wanting to dip their toes in but not knowing where to begin, or for artists looking to branch out into another dimension. <i>--Angelynn Grant</i></span></div>
Mónica Puigferrathttp://www.blogger.com/profile/07067335476804457405noreply@blogger.com0tag:blogger.com,1999:blog-9087043269382609528.post-22356146696124556852013-04-25T17:21:00.002-07:002013-04-25T17:21:47.594-07:00<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3mdPjadA63bw6F5Dm2vu_mRyZhxAnj4yA3isdDkEODoiXV5dR58XFcHTHzBj10Kw4_WULgy6Yr3nyQ3XQhEYWXsgmY3uR1gp0knJ6Bzu8l1MHbZ5vutAKp-xS3mUijtUq34P2AbT2JaY/s1600/9789700767680.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3mdPjadA63bw6F5Dm2vu_mRyZhxAnj4yA3isdDkEODoiXV5dR58XFcHTHzBj10Kw4_WULgy6Yr3nyQ3XQhEYWXsgmY3uR1gp0knJ6Bzu8l1MHbZ5vutAKp-xS3mUijtUq34P2AbT2JaY/s1600/9789700767680.jpg" /></a></div>
<span style="font-family: Arial, Helvetica, sans-serif;">Diccionario de retórica y poética. Beristaín, H. (2008) México: Porrúa</span>Mónica Puigferrathttp://www.blogger.com/profile/07067335476804457405noreply@blogger.com0tag:blogger.com,1999:blog-9087043269382609528.post-91949601157932474552013-04-25T17:20:00.001-07:002013-04-25T17:20:15.795-07:00<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgEeOg0-5Cq5t0cP9QDrwZdLu2GlRxIwrUJOFBNG38ez1ppRRvRQfPKuyww8Wlk_F6Dm3oZkJWCpEc6i3nM0Lfc4Hhjxcisw_KNHDflxMn9nCedhWAPpy3dtH-Upqs7DDsdS81n-vVMTs/s1600/51fkZJndlbL._BO2,204,203,200_PIsitb-sticker-arrow-click,TopRight,35,-76_SX225_SY300_CR,0,0,225,300_SH20_OU01_.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgEeOg0-5Cq5t0cP9QDrwZdLu2GlRxIwrUJOFBNG38ez1ppRRvRQfPKuyww8Wlk_F6Dm3oZkJWCpEc6i3nM0Lfc4Hhjxcisw_KNHDflxMn9nCedhWAPpy3dtH-Upqs7DDsdS81n-vVMTs/s1600/51fkZJndlbL._BO2,204,203,200_PIsitb-sticker-arrow-click,TopRight,35,-76_SX225_SY300_CR,0,0,225,300_SH20_OU01_.jpg" /></a></div>
<span style="font-family: Arial, Helvetica, sans-serif;">Designing with Plastics. Erhard, G. (2006). Munich, Germany: Hanser. </span><br />
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<span style="background-color: white; font-size: x-small;"><span style="font-family: Arial, Helvetica, sans-serif;">"Designing with Plastics" is an indispensable tool for every engineer and designer working with plastic materials. It will assist in the development of plastic parts that are not only functional and esthetically pleasing but also manufacturable while meeting ever increasing end-use requirements.</span></span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">The short but concise introduction into the specific properties of this material class focuses on the practical needs of the designer and lays the foundation for the following in-depth discussion of part design suitable for production and the intended end-use application. Numerous detailed examples highlight practical tips and rules of thumb for successful part design.</span></div>
Mónica Puigferrathttp://www.blogger.com/profile/07067335476804457405noreply@blogger.com0tag:blogger.com,1999:blog-9087043269382609528.post-91408268283840477242013-04-25T17:17:00.001-07:002013-04-25T17:17:40.515-07:00<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-kYkseTWyGaYXJW9YSTzQOL-CpJGZ5Sc7rBuKnaoezqyXq_YDF9lG2tBxndTO4Lhb0yEhRQnTG4f2RYf10MN0nc-3EsBKxefV2ZGKqw5DFyG6R_X4ig1VWq4nE2a4KUBHj_xSipt4dOA/s1600/41LgodHAZ0L._SY300_.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="font-family: Arial, Helvetica, sans-serif;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-kYkseTWyGaYXJW9YSTzQOL-CpJGZ5Sc7rBuKnaoezqyXq_YDF9lG2tBxndTO4Lhb0yEhRQnTG4f2RYf10MN0nc-3EsBKxefV2ZGKqw5DFyG6R_X4ig1VWq4nE2a4KUBHj_xSipt4dOA/s1600/41LgodHAZ0L._SY300_.jpg" /></span></a></div>
<span style="font-family: Arial, Helvetica, sans-serif;">Designing Design. Hara, Kenya, Alemania: Lars Müller Publishers, 2011.</span><br />
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<span style="background-color: white; font-size: x-small;"><span style="font-family: Arial, Helvetica, sans-serif;">Representing a new generation of designers in Japan, Kenya Hara (born 1958) pays tribute to his mentors, using long overlooked Japanese icons and images in much of his work. In Designing Design , he impresses upon the reader the importance of emptiness in both the visual and philosophical traditions of Japan, and its application to design, made visible by means of numerous examples from his own work: Hara for instance designed the opening and closing ceremony programs for the Nagano Winter Olympic Games 1998. In 2001, he enrolled as a board member for the Japanese label MUJI and has considerably moulded the identity of this successful corporation as communication and design advisor ever since. Kenya Hara, alongside Naoto Fukasawa one of the leading design personalities in Japan, has also called attention to himself with exhibitions such as Re-Design: The Daily Products of the 21st Century of 2000.</span></span>Mónica Puigferrathttp://www.blogger.com/profile/07067335476804457405noreply@blogger.com0tag:blogger.com,1999:blog-9087043269382609528.post-80601501991653401342013-04-25T17:15:00.002-07:002013-04-25T17:15:50.280-07:00<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjB8q5FRBRLat7-Blbb6CHZBYH17lxLRsI0XPa3BH_z_Q7M4WJ-1HGYTjcoYokZq1QKHXOJdYSM8WnGlQuh18KhiDIanTZmyEu-RM5JQPk03t6tFigNPpSa9Segt6oRIN0w_ai8OsbXsjY/s1600/31UDHREVnWL._.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjB8q5FRBRLat7-Blbb6CHZBYH17lxLRsI0XPa3BH_z_Q7M4WJ-1HGYTjcoYokZq1QKHXOJdYSM8WnGlQuh18KhiDIanTZmyEu-RM5JQPk03t6tFigNPpSa9Segt6oRIN0w_ai8OsbXsjY/s1600/31UDHREVnWL._.jpg" /></a></div>
<span style="font-family: Arial, Helvetica, sans-serif;">Design Sketching. Sjölen K. Olofsson E. (2007) KEEOS Design Books AB. </span>Mónica Puigferrathttp://www.blogger.com/profile/07067335476804457405noreply@blogger.com0tag:blogger.com,1999:blog-9087043269382609528.post-64896093407906617762013-04-25T17:13:00.004-07:002013-04-25T17:13:57.995-07:00<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpPYxWaMBj_Fp9VuYwj-TzZyC-jZNiGaRQV7jTW0mD_t6exo_ujI2S9oNH30P8h1hx1R3OX_FM3c20HOVwJAJ9Q2PzDOEbb1Lu14gxWzM1IulkyMPdZRfanCYEFpa1f135q-c28bNx5Xg/s1600/416rf0SF0GL._BO2,204,203,200_PIsitb-sticker-arrow-click,TopRight,35,-76_SX225_SY300_CR,0,0,225,300_SH20_OU01_.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpPYxWaMBj_Fp9VuYwj-TzZyC-jZNiGaRQV7jTW0mD_t6exo_ujI2S9oNH30P8h1hx1R3OX_FM3c20HOVwJAJ9Q2PzDOEbb1Lu14gxWzM1IulkyMPdZRfanCYEFpa1f135q-c28bNx5Xg/s1600/416rf0SF0GL._BO2,204,203,200_PIsitb-sticker-arrow-click,TopRight,35,-76_SX225_SY300_CR,0,0,225,300_SH20_OU01_.jpg" /></a></div>
<span style="font-family: Arial, Helvetica, sans-serif;">Design Secrets: Forniture. Saville, L. y Stoddard B. (2006) EEUU: Rockport.</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">Furniture design is a complex art. Traditionally, techniques of the craft have been passed down from master to apprentice, but these days that is less and less the case in contemporary design. Students are now required to take courses and figure out much of it themselves. This book, as with others in the Design Secrets series, takes readers into the studio and reveals tips and techniques as well as the inspiration that brought the concept to life.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">Many graphic and product designers are crossing into furniture design, including Karim Rashid, a designer of product, space, light, and fashion, and Todd Oldham, a photographer, graphic designer, product designer, interior designer, and influence in film/video and TV. Oldham is now the star designer at Lazy Boy-a company that has experienced a remarkable rebirth and revamp.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br />Design Secrets: Furniture shadows similar success stories by showcasing award-winning furniture designs from around the world. Each profile is complete with sketches, notes, and interim iterations revealing how the final piece came to be.</span></div>
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Mónica Puigferrathttp://www.blogger.com/profile/07067335476804457405noreply@blogger.com0tag:blogger.com,1999:blog-9087043269382609528.post-68468837203176026142013-04-25T17:11:00.001-07:002013-04-25T17:11:31.768-07:00<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPaB8UeeM5uPvcqlRMSzoJF6YlFv1pesuzGU7q8vZA3O2SFfSt1HCvM01TS_jJWuq205fcmzyhqwrivd5G2A1RwXwjpqOuDVV_KgWFQzErnLUofTv6cMu8WaSSASPxQBhzZeWDgTp-qGs/s1600/41gWfLrcCnL.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPaB8UeeM5uPvcqlRMSzoJF6YlFv1pesuzGU7q8vZA3O2SFfSt1HCvM01TS_jJWuq205fcmzyhqwrivd5G2A1RwXwjpqOuDVV_KgWFQzErnLUofTv6cMu8WaSSASPxQBhzZeWDgTp-qGs/s1600/41gWfLrcCnL.jpg" /></a></div>
<span style="font-family: Arial, Helvetica, sans-serif;">Creative Marker Techniques. Shimizu, Y. (1990). Tokyo, Japón. Graphic-sha Publishing Co., Ltd. </span>Mónica Puigferrathttp://www.blogger.com/profile/07067335476804457405noreply@blogger.com0tag:blogger.com,1999:blog-9087043269382609528.post-83180767290889216192013-04-25T17:08:00.002-07:002013-04-25T17:08:55.942-07:00<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhppAEWpYN8tYcTLW9pKMUEeCahNqyebKIRRY8-zCR659FwkcKTHUztZNEPoF-VocEU6RlXlTa7UGsAz3_EadZwm0F4hyphenhyphenIikaVkfDe_QO1kiP1rmcKio6TMsqOwyxFL-7Oh0xx2zo9B5po/s1600/51HXY3VGKKL.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="243" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhppAEWpYN8tYcTLW9pKMUEeCahNqyebKIRRY8-zCR659FwkcKTHUztZNEPoF-VocEU6RlXlTa7UGsAz3_EadZwm0F4hyphenhyphenIikaVkfDe_QO1kiP1rmcKio6TMsqOwyxFL-7Oh0xx2zo9B5po/s320/51HXY3VGKKL.jpg" width="320" /></a></div>
<span style="font-family: Arial, Helvetica, sans-serif;">Concepts of Syd Mead. Oblagon, Mead, S. (1996). USA. Oblagon. </span><br />
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<span style="background-color: white; font-size: x-small;"><span style="font-family: Arial, Helvetica, sans-serif;">170 pages, with over 200 illustrations of futuristic designs and illustrations by artist Syd Mead including full color rendering for movies such as Bladerunner, 2010, Startrek;The motion Picture, as well as designs for Honda, Norweigen Carb. Cruise lines and many others. This publication is a staple for design studios in Hollywood and Detroit as well as bookshelves of Syd Mead's fans around the world.</span></span>Mónica Puigferrathttp://www.blogger.com/profile/07067335476804457405noreply@blogger.com0tag:blogger.com,1999:blog-9087043269382609528.post-70899156505745441492013-04-25T17:06:00.000-07:002013-04-25T17:06:14.294-07:00<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCH143BjEQMdIYQ5OBEWDEFhvLg8FI3kFcYMwIe1vBnhgE1ha847KsU6pVyZ5hdxTh-h0mUO6Gwincxy7pmtD9Z1xuNPrin1GJNPXyKD4Q5LCgkI5l8nBwylT4IZ7Wfc8Bvqjm_YHI08o/s1600/VirtualTypography_c_640.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCH143BjEQMdIYQ5OBEWDEFhvLg8FI3kFcYMwIe1vBnhgE1ha847KsU6pVyZ5hdxTh-h0mUO6Gwincxy7pmtD9Z1xuNPrin1GJNPXyKD4Q5LCgkI5l8nBwylT4IZ7Wfc8Bvqjm_YHI08o/s320/VirtualTypography_c_640.jpg" width="222" /></a></div>
<span style="font-family: Arial, Helvetica, sans-serif;">Basics Typography: Virtual Typography. Hillner, M. (2009) Switzerland: AVA.</span><br />
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<span style="background-color: white; font-size: x-small;"><span style="font-family: Arial, Helvetica, sans-serif;">"Basics Typography: Virtual Typography" addresses a fundamentally new form of typographical communication. The book explores the visual arrangement of words and letters in the context of multimedia. Here, this arrangement is not simply a spatial positioning of text information it is also bound by time. The increasing use of moving, virtual type can help to harmonise this time-based presentation of words on screen. The book touches on work from a variety of designers, including Channel 4 and Pentagram Design. This will provide an excellent introduction to the latest methods in typographical and visual communication.</span></span><br />
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Recomendado por Mónica Puigferrat</span>Mónica Puigferrathttp://www.blogger.com/profile/07067335476804457405noreply@blogger.com0tag:blogger.com,1999:blog-9087043269382609528.post-89205581876649983162013-04-25T17:02:00.001-07:002013-04-25T17:02:09.050-07:00<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIZFvDm7CF5TLXeMfChJ4M_wAlDsRIW5Eg1X3GIczsu2soKbCT2NiCPSVDac5Ur0D5FdCwnMly8a6NA2SAypXMjzTxz7lzVsLIj4J4oNVtUWQ0_MKsFLruBvv4TPso-6Cu2MfDM0yFzRU/s1600/9786071109682.jpg" imageanchor="1"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIZFvDm7CF5TLXeMfChJ4M_wAlDsRIW5Eg1X3GIczsu2soKbCT2NiCPSVDac5Ur0D5FdCwnMly8a6NA2SAypXMjzTxz7lzVsLIj4J4oNVtUWQ0_MKsFLruBvv4TPso-6Cu2MfDM0yFzRU/s320/9786071109682.jpg" /></a> <span style="font-family: Arial, Helvetica, sans-serif;">¿Qué está haciendo internet con nuestras mentes? Superficiales, Carr, N. (2011). Taurus. México. </span><br />
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<span style="background-color: white; color: #333333; font-size: 12px; line-height: 19px; text-align: justify;"><span style="font-family: Arial, Helvetica, sans-serif;">¿Google nos vuelve estúpidos? Nicholas Carr condensó así, en el título de un célebre artículo, uno de los debates más importantes de nuestro tiempo: mientras disfrutamos de las bondades de la red, ¿estamos sacrificando nuestra capacidad para leer y pensar con profundidad? En este libro, Carr desarrolla sus argumentos para crear el más revelador análisis de las consecuencias intelectuales y culturales de internet publicado hasta la fecha. Nuestro cerebro, como demuestran las evidencias científicas e históricas, cambia en respuesta a nuestras experiencias, y la tecnología que usamos para encontrar, almacenar y compartir información puede, literalmente, alterar nuestros procesos neuronales. además, cada tecnología de la información conlleva una ética intelectual. Así como el libro impreso servía para centrar nuestra atención, fomentando el pensamiento profundo y creativo, internet fomenta el picoteo rápido y distraído de pequeños fragmentos de información de muchas fuentes. su ética industrial, de la velocidad y la eficiencia. la red nos está reconfigurando a su propia imagen, volviéndonos más hábiles para manejar y ojear superficialmente la información pero menos capaces de concentración, contemplación y reflexión. Este libro es una alerta sobre la seducción de la tecnología y aquello que estamos sacrificando a cambio de los beneficios y favores del mundo digital. </span></span>Mónica Puigferrathttp://www.blogger.com/profile/07067335476804457405noreply@blogger.com0tag:blogger.com,1999:blog-9087043269382609528.post-68413322791997631942012-09-05T16:41:00.002-07:002012-09-05T16:41:35.206-07:00<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9FOQOSe9B7N44uAEKIgm3KPpjoRd1O9MEB3be12doHPR1j2A6CSWdsOl0VqCaptaSc6E0PeE3LQr4sP8lGrc91crDG4Yzhhyphenhyphen9VHoa9mB5yyvrbH8FBWT8FJgkMz4gi_upd-AnPL4k0ts/s1600/9788434229419.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9FOQOSe9B7N44uAEKIgm3KPpjoRd1O9MEB3be12doHPR1j2A6CSWdsOl0VqCaptaSc6E0PeE3LQr4sP8lGrc91crDG4Yzhhyphenhyphen9VHoa9mB5yyvrbH8FBWT8FJgkMz4gi_upd-AnPL4k0ts/s320/9788434229419.jpg" width="279" /></a><b style="font-family: Arial,Helvetica,sans-serif;">Wells, P. (2009) Fundamentos de la Animación. Barcelona: Parramón.</b> <br />
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multimedia-animación-lenguaje audiovisual-comic-ilustración </div>
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Este
libro, escrito por un profesor universitario, trata todos los temas que
se estudian en los cursos de Animación, en el Reino Unido. En la
primera parte se explican los principios básicos y los procesos que
intervienen en la animación, desde la búsqueda y definición de un
concepto, hasta la preparación y técnicas para ejecutar el trabajo.
Cada etapa se estudia en profundidad y se comentan las nuevas
tecnologías auxiliares aplicables. En la segunda parte se desglosan los
distintos estilos narrativos tomando ejemplos de profesionales y
estudiantes actuales. Finalmente, en la tercera parte se analiza la
estructura de las industrias del sector, ofreciendo un material de
primera para quienes aspiran a entrar en el mundo de la animación
profesional. El autor ha sabido encontrar un equilibrio perfecto entre
la teoría y el diseño, dando a luz a una obra muy visual, dinámica y
fresca, en la que los estudiantes encontrarán respuesta a sus dudas y
los profesionales, la inspiración y soluciones creativas que necesiten. </div>
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<span style="font-family: Arial,Helvetica,sans-serif;">Recomendado por Ana María López Balbín. </span><br />
<br />Mónica Puigferrathttp://www.blogger.com/profile/07067335476804457405noreply@blogger.com0tag:blogger.com,1999:blog-9087043269382609528.post-81547577624271777752012-09-05T16:30:00.001-07:002012-09-05T16:30:45.456-07:00<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaC2on-eoh90gh-WLiTxSDJWMu1o5j2YkEJvr383lhefvfcL0BnFGJf7c19gkmIQR7zjroJtaaB7u0WGKZWVYQST6SZUnvdmbQO8rgNQw9udRzZE266k8aeCVxmQfSb-Xarr69xINb__Q/s1600/ricard.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaC2on-eoh90gh-WLiTxSDJWMu1o5j2YkEJvr383lhefvfcL0BnFGJf7c19gkmIQR7zjroJtaaB7u0WGKZWVYQST6SZUnvdmbQO8rgNQw9udRzZE266k8aeCVxmQfSb-Xarr69xINb__Q/s1600/ricard.jpg" /></a><b style="font-family: Arial,Helvetica,sans-serif;">Ricard, A. (2008) Conversando con estudiantes de Diseño. Barcelona: Gustavo Gilii. </b><br />
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diseño gráfico-diseño industrial-multimedia-proceso de diseño-investigación-teoría del diseño-innovación-diseño </div>
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Este
libro recoge el resultado de una serie de conversaciones mantenidas por
André Ricard con los alumnos de tres escuelas de diseño de Barcelona.
Estos encuentros se organizaron sin la excusa de una conferencia
previa, con la voluntad de iniciar un diálogo entre el maestro y los
alumnos basado únicamente en las preguntas de estos últimos. La
inquietud de los estudiantes incide aquí en temas tanto teóricos como
prácticos, el porqué y el cómo del diseño, y plantea cuestiones de tono
tan variado como cuáles son los posibles fundamentos definitorios del
diseño, los elementos del proceso creativo o la realidad profesional
fuera de las aulas, que el autor aborda con su característico estilo
directo y funcional.</div>
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<div style="font-family: Arial,Helvetica,sans-serif;">
Recomendado por Ana María López Balbín. </div>
<br />Mónica Puigferrathttp://www.blogger.com/profile/07067335476804457405noreply@blogger.com0tag:blogger.com,1999:blog-9087043269382609528.post-79251234058309757442012-09-05T16:22:00.000-07:002012-09-05T16:22:55.613-07:00<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEij8hF7uqR7Uhr3_VHEpYxDVzxyzY9kSNZ7HEmzi29Gp80U61Nzx0_iF8JY-YSwnU1fueAO5uD2uHMvvtuV0D92KvLbfiMg0x6bXtnhsJAXId5rzKQd9a0ufmV07PkZRQeCrOhnKqlFml0/s1600/Unknown.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEij8hF7uqR7Uhr3_VHEpYxDVzxyzY9kSNZ7HEmzi29Gp80U61Nzx0_iF8JY-YSwnU1fueAO5uD2uHMvvtuV0D92KvLbfiMg0x6bXtnhsJAXId5rzKQd9a0ufmV07PkZRQeCrOhnKqlFml0/s1600/Unknown.jpeg" /></a><b>Noble, I. y Bestley, R. (Visual Research: An Introduction to
Research Methodologies in Graphic Design. Singapore: AVA Publishing. </b><br />
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diseño gráfico-multimedia-proceso de diseño-investigación-teoría del diseño-innovación <br />
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Visual
Research: An Introduction to Research Methodologies is a guide to the
practice of researching for graphic design projects. The book explains
the key terms and theories that underlie design research; examining the
importance of audience, communication theory, semiotics and semantics.
Inspirational case studies demonstrate how the use of rigorous research
methods can form the basis of effective visual communication and design
problem solving.<br />
<br />
Recomendado por Ana María López Balbín. <br />
<br />Mónica Puigferrathttp://www.blogger.com/profile/07067335476804457405noreply@blogger.com0