Jewelry design. Kowalski, C. (2008) Cologne, Germany: Daab.

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.

Indiferencias fotográficas y ética de la imagen periodística. Fontcuberta, J. (2011) Gustavo Gili. España

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

Imágenes en secuencia. Wigan, M. (2007) Barcelona: Gustavo Gili.

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.

Imagen, Icono, Ilusión. Flo, J. (2010) México: Siglo XXI

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

Human Dimension and interior Space: A source book of design reference standards. Panero, J. (1979) USA: Watson-Guptill.

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.

Human Dimension and Interior Space 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.

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.

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 Human Dimension and Interior Space, these standards are now accessible to all designers of interior environments.

H-Ponit: The fundamentals of car design and packaging. Macey, S. (2009) USA: Design Studio Press.

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

Fantastic Plastic: Product design + Consumer culture. Mossman, S (2008) London, UK: Black Dog Publications.

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.

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.

Estética de los objetos. Francalanci, E (2010) México: Machado Grupo de distribución.

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. 

El mundo como proyecto. Aicher, O. (2007) Barcelona: Gustavo Gili

El libro de la tipografía. Frutiger, A. (2007) Barcelona: Gustavo Gili