A therapeutic craft workshop which I host for people who want to engage in a therapeutic craft based activity and walk away with skills that they can use again and again.
MASSIMO VIGNELLI was a prolific designer, where he presented a blend of artistic and creative talents in his fascinating works in logo, package, furniture and book cover designs. The most famous designs that made him an ICON of Graphic Design history are Poster for the Fort Worth Art Museum, Tumblers, Stacking Dinnerware, Pneumatici Pirelli, NYC Subway, American Airlines, St. Peters Church, Guggenheim Museum, Unfinished Modern, NY Subway Map, Austrian Architecture, United Colors Of Benetton, San Lorenzo Design and The Vignelli Canon.
MASSIMO VIGNELLI was a prolific designer, where he presented a blend of artistic and creative talents in his fascinating works in logo, package, furniture and book cover designs. The most famous designs that made him an ICON of Graphic Design history are Poster for the Fort Worth Art Museum, Tumblers, Stacking Dinnerware, Pneumatici Pirelli, NYC Subway, American Airlines, St. Peters Church, Guggenheim Museum, Unfinished Modern, NY Subway Map, Austrian Architecture, United Colors Of Benetton, San Lorenzo Design and The Vignelli Canon.
Strategies against architecture: building a 'museum of the future' / Remix Sy...Seb Chan
Keynote presentation delivered at Remix Sydney, June 2015.
Title is derived from an article in The Atlantic, Jan 2015 - http://theatln.tc/1K0zXQs
Lustig/Fast Company quotes are from - http://bit.ly/1FoS8ZR
Longer background technical paper at http://bit.ly/1LhwSNX
Strategies against architecture: building a 'museum of the future' / Remix Sy...Seb Chan
Keynote presentation delivered at Remix Sydney, June 2015.
Title is derived from an article in The Atlantic, Jan 2015 - http://theatln.tc/1K0zXQs
Lustig/Fast Company quotes are from - http://bit.ly/1FoS8ZR
Longer background technical paper at http://bit.ly/1LhwSNX
The trends of Salone Del Mobile Milan 2016 MILDBERRY
Each spring, designers from all over the world head to Milan in order to visit the Salone Internazionale del Mobile, the most important annual furniture fair in the world. Lots of cities hold their own design weeks, however, the Salone is the first event, which grew into a large-scale arts and culture festival, becoming an incubator for ideas, a venue for inspiration and a good show case of design accomplishments.
Vasily Kassab, Executive Creative director at Mildberry, who used to study and work in Milan, has been attending the annual fair since 2010. He was always keeping an eye on it and the latest design tendencies. After every trip he shares his impressions on the remarkable trends spotted around the fair. Usually, these trends get weaved into the projects we do for our clients. In this presentation you may find the latest observations of the Salone del Mobile 2016.
You've got the tools, now get the chops: tips on enhancing your graphic design skills in a *quick* 60 minutes.
Delivered at the LCOP Conference (Library Communication Conference, Oct 6-7, 2014. Hotel ML, Mount Laurel, NJ
Joanne Quinn, Falvey Memorial Library, Villanova University
Manfred Kielnhofer
“Guards of Time” relates to the idea that since the beginning of time mankind has had protectors, both for historic and mystical reasons. It seems that only man himself is a potential source of danger for his own existence. In his works of art Manfred Kielnhofer deals with the natural human desire for security. Thus his oeuvre reflects genuine exploration, consideration and discussion of current as well as historic moods and sensibilities of his social environment. His works of art captivate with elaborate combinations of light and different technique.
Manfred Kielnhofer was born in Haslach an der Mühl, Austria. He is self-taught and works with many different mediums; including, painting, film, photography, installation, performance and sculpture. His work usually concerns the human figure, and its different forms and movements, focusing mainly on the peculiarities of human nature. He uses the human form as a tool, either on a canvas or in a sculpture.
http://kielnhofer.com
http://timeguards.com
http://kielnhofer.at
http://kielnhofer.at/blog/
http://fotopark.at
http://artpark.at
http://contemporary-art.at
http://lightart-biennale.com
http://www.facebook.com/manfred.kielnhofer
http://twitter.com/artbeyondlimits
http://at.linkedin.com/in/contemporaryart
https://plus.google.com/u/0/102958896899981777265
http://www.youtube.com/user/kielnhofer
Can AI do good? at 'offtheCanvas' India HCI preludeAlan Dix
Invited talk at 'offtheCanvas' IndiaHCI prelude, 29th June 2024.
https://www.alandix.com/academic/talks/offtheCanvas-IndiaHCI2024/
The world is being changed fundamentally by AI and we are constantly faced with newspaper headlines about its harmful effects. However, there is also the potential to both ameliorate theses harms and use the new abilities of AI to transform society for the good. Can you make the difference?
Between Filth and Fortune- Urban Cattle Foraging Realities by Devi S Nair, An...Mansi Shah
This study examines cattle rearing in urban and rural settings, focusing on milk production and consumption. By exploring a case in Ahmedabad, it highlights the challenges and processes in dairy farming across different environments, emphasising the need for sustainable practices and the essential role of milk in daily consumption.
White wonder, Work developed by Eva TschoppMansi Shah
White Wonder by Eva Tschopp
A tale about our culture around the use of fertilizers and pesticides visiting small farms around Ahmedabad in Matar and Shilaj.
Hello everyone! I am thrilled to present my latest portfolio on LinkedIn, marking the culmination of my architectural journey thus far. Over the span of five years, I've been fortunate to acquire a wealth of knowledge under the guidance of esteemed professors and industry mentors. From rigorous academic pursuits to practical engagements, each experience has contributed to my growth and refinement as an architecture student. This portfolio not only showcases my projects but also underscores my attention to detail and to innovative architecture as a profession.
Transforming Brand Perception and Boosting Profitabilityaaryangarg12
In today's digital era, the dynamics of brand perception, consumer behavior, and profitability have been profoundly reshaped by the synergy of branding, social media, and website design. This research paper investigates the transformative power of these elements in influencing how individuals perceive brands and products and how this transformation can be harnessed to drive sales and profitability for businesses.
Through an exploration of brand psychology and consumer behavior, this study sheds light on the intricate ways in which effective branding strategies, strategic social media engagement, and user-centric website design contribute to altering consumers' perceptions. We delve into the principles that underlie successful brand transformations, examining how visual identity, messaging, and storytelling can captivate and resonate with target audiences.
Methodologically, this research employs a comprehensive approach, combining qualitative and quantitative analyses. Real-world case studies illustrate the impact of branding, social media campaigns, and website redesigns on consumer perception, sales figures, and profitability. We assess the various metrics, including brand awareness, customer engagement, conversion rates, and revenue growth, to measure the effectiveness of these strategies.
The results underscore the pivotal role of cohesive branding, social media influence, and website usability in shaping positive brand perceptions, influencing consumer decisions, and ultimately bolstering sales and profitability. This paper provides actionable insights and strategic recommendations for businesses seeking to leverage branding, social media, and website design as potent tools to enhance their market position and financial success.
5. During these 3 hour workshops, we will revoke the current lack of face to face communication by using our hands to craft a
typeface, the main tool of Graphic Design.
The process of doing rather than the final outcome that is significant. The performative act of stepping out of your usual
routine to partake in an activity that is at the core of what design is will leave you with a positive, collaborative and memorable
experience of the festival as well as what craft is and can be.
The process will be simple, therapeutic, craft focussed and collaborative. You will gain a deeper understanding of what
typeface design is and can be. You will walk away with a tangible result that you can use again and again, as well as the feeling
of wanting to do and create more.
The process will be documented and kept by Alexandra Lunn Studio who will then create a collective font from the 3 day
period which will then be shared with you for you to use on a Mac, which we will then send out to all participants later in the
year as a souvenir and a reminder of the fun of an interactive workshop.
www.alexandralunn.com
6.
7. ● Look at what typography is and can be
● Do some paper cutting to create a collective font
● Scan the shapes into Adobe Illustrator
● Use Glyphs to create a typeface
Today we will
www.alexandralunn.com
13. Following WWII, the communist regime imposed on Poland by the Soviets as a consequence of
the Yalta Accords. Seeking to differentiate itself from Poland’s pre-war “bourgeois” democracy
and masquerading as the “dictatorship of the proletariat,” the regime, seeking to somehow
legitimize itself in the eyes of the masses, invested heavily in the folk-arts. The wycinanki were
thus often used to decorate official buildings. Given their artistic and decorative merits, not to
mention their beauty, it became fashionable, for a time, among city dwellers to frame the
wycinanki and used them as interior decorations.
With the fall of communism and the advent of the free market, the demand for the wycinanki
diminished greatly, practitioners of the craft scaled back their production.
www.alexandralunn.com
16. Poland 2011
In 2011 I visited rural Poland to research a very intricate and beautiful paper craft: Wycinanki (which translates to
paper cutting).
www.alexandralunn.com
36. Neoclassical, evocative, enlightened, classical, elegant,
graceful. The typeface is a French font developed by Firmin
Didot in the period 1784–1811. The Didots were an illustrious
family who for nearly two centuries served as typefounders and
master printers to the crown of France.
Didot's type was used in the Code civil des Français, printed by
the company of Firmin Didot in 1804. Today, the font is used by
many fashion brands such as Harper’s Bazaar and Vogue.
More historical research here
www.alexandralunn.com
41. Helvetica was developed in 1957 by Max Miedinger with Eduard Hoffmann at the Haas’sche Schriftgiesserei of Münchenstein, Switzerland.
Haas set out to design a new sans-serif typeface. The aim of the new design was to create a neutral typeface that had great clarity, had no
intrinsic meaning in its form, and could be used on a wide variety of signage.
Neutral, friendly, trustworthy, recognisable
● WW2 just 10 years before so there were new ideas and approaches to productivity,
efficiency, stability?
● Helvetica was marketed as a symbol of cutting-edge Swiss technology, Helvetica
went global at once.
Helvetica
www.alexandralunn.com
42. Helvetica was developed in 1957 by Max Miedinger with Eduard Hoffmann at the Haas’sche Schriftgiesserei of Münchenstein, Switzerland.
Haas set out to design a new sans-serif typeface. The aim of the new design was to create a neutral typeface that had great clarity, had no
intrinsic meaning in its form, and could be used on a wide variety of signage.
Neutral, friendly, trustworthy, recognisable
● WW2 just 10 years before so there were new ideas and approaches to productivity,
efficiency, stability?
● Helvetica was marketed as a symbol of cutting-edge Swiss technology, Helvetica
went global at once.
Helvetica
www.alexandralunn.com
85. Everything we’ve seen so far has been made during or pre the 20th
Century. Now we have the technology to create our own fonts. Here
is how others have pushed the boundaries of it.
www.alexandralunn.com
102. Now we know that each typeface has a personality or is
based on a concept, we will make a collective font by first
cutting out a shape from the alphabet (and punctuation)
and then using software to digitise it.
1. Choose your weapon!
-Scalpel / scissors / zig zag scissors
It doesn’t necessarily need look like a perfect a, b or c.
More important is that you’re enjoying the process.
www.alexandralunn.com
