CONFERENCES AND MASTERCLASS
CONFERENCES AND MASTERCLASS
THE IMAGE THAT EXPLAINS
10:15 – 11 h
There is no single system, method or process that ensures you develop ideal, clear and understandable infographics. Experimentation is one of the ways to get readers surprised, hooked and evolve personally. In my case I look for a balance between the aesthetic and informative part.
11:15 – 12 h
From explaining to telling. Own and common
Carles Puche, Blanca Martí & Vega Asensio - Scientific illustrators, Barcelona and PhD in Biology, Bizkaia ▙
12:15 – 13 h
In the scientific fields, we could ask what role illustration has today, when photography is so much developed and so accessible. After a good part of their life dedicated to that, Carles Puche and Blanca Martí offer us keys on why scientific illustration is a professional specialty in full height, highly demanded and highly appreciated by scientists, both in the field of their internal and dissemination research, often becoming a cornerstone of the understanding of their studies and of our environment.
15:15 – 16 h
In the era of big data or open data, representation of data often becomes a necessity for its analysis and, above all, for its communication in an understandable way. Geoinformation is not an exception although it often implies a handicap given the extra complexity it adds. But nothing is further from reality as most of them can be represented and communicated graphically in a few simple steps through free tools and accessible to all.
16:15 – 17 h
Inspiration and creative process in architecture
17:15 – 18 h
Meeting expectations: our customers’ main concern
Hiring design today is not easy. Some clients lack the necessary experience to understand design as strategic, not merely functional. We are being unable to get through to our clients, and still we feel as guardians of a knowledge only a selected few can understand. If we really believe that we are not understood, our obligation should be to make ourselves understood. If we don’t maybe we don’t deserve attention after all. In our industry, there is a shortage of method, objectivity and analytical talent. Packaging needs to convey experiences, emotions, … not only highlight the Brand. The true challengers in packaging today are usually small start-ups that have nothing to lose. We have an opportunity to make packaging more empathic and emotional, but we have to be consistent and committed to achieve this goal.
the reproduced image
Julius Wiedemann (Taschen) ▚
Julius Wiedemann (Taschen)
The successful union of design and editorial project has in Taschen one of its most illustrious examples. Beautiful books and interesting contents that are aimed at specialized audiences or sybarites of beautiful objects – and, why not, also useful. How is generated a product with these characteristics? What methodology or protocols are followed? Julius Widemann offers answers to these and many other questions.
11:15 – 12 h
Javier González Solas
“Advertisers between Art and Design”. This exhibition reviews the history of design since its bankruptcy in 1968. The visitor, under imposed and admitted inertia, succumb easily to the brief, but intense stimuli of images, which give him no possibility to regain his balance and get back on course, something which he could still recover, if he overcomes the challenge of achieving a minimum shock that ignites multiple viewpoints at the same time. Under his, we will understand the activity, the commitment, the problems, the difficulties, the risks, the successes, and the circumstances that conditioned the exhibition.
Marta Cerdà Alimbau ▜
Our environment is saturated with visual stimuli. In this chaos full of shapes, colors and texts, we must place our project. How to make it unique? How to find the difference? How to show the personality? Visual communication, graphic design, demands projects, iconographies, messages, texts, shapes and colors as clear as beautiful, as understandable as differentiable, as close as they are unique. Here lies its substance. Cerdà’s proposals are overwhelming and surprising. They are not limited to the repetition of style: on the contrary, they pose each assignment as a different challenge that must always be solved from the premise of “how it suits him”, and not from the comfort of “what suits me well”.
Octavio Pardo ▚
Type design is a discipline “fought” with research. Its base is mainly heuristic, and the scientific community is reduced to a few professionals. At the same time, research on legibility developed by psychophysicists usually lack the rigor of the character designer In this presentation we will discuss the different systems of research on readability, its problems and advantages, review several experiments made throughout history and try to elucidate and to clarify which are the optimal typographical forms for the most common scenarios that a graphic designer has to face. Starting from this declaration of principle, the letter is nowadays a terrain of specialization, experimentation, creation and recreation overflowing with utility or ingenuity -or sometimes, of both-, and, although in many cases it is still subject to atavistic rules, Innovation and evolution are possible and desirable. Octavio Pardo will give us the opportunity to plan for their realities and their potential, for what is done and must be done, without losing sight of what can be achieved.
Félix Beltrán is the author of some of the graphic reference icons of graphic design in the 20th century that are fully valid in the 21st. His extensive career as a committed designer has gone through all kinds of vicissitudes, has been involved in the different realities of society, some characterized by abundance and others by scarcity. Some are ideologically directed and others apparently not. His works develop harmoniously in different planes and offer reflective products as well as realities that impact the fiber of the viewer’s feelings. Communicate, educate, excite, reflect …, over fashion or trends, prioritizing the durability of messages, clarity and effectiveness always. Designer, teacher, activist, colleague, promoter, restless, friend, obsessive, curious, talkative …, define some of its many facets.
The dean of the Graphic Design College of Catalonia will open the awards ceremony with the presentation:
Jesús Del Hoyo
For the sake of all the paradigms of graphic design, it has changed in an irreversible way. The sporadic activity gave way to the continuous trade and from there we went to a profession already stratified and structured in phases and tasks developed by different people and, without realizing and hardly reflecting it, after that we have placed ourselves in a discipline, that of visual communication , that assuming all the above does not renounce its transversality, the capacity of its forms, methods and systems as contribution to other realities, to other disciplines. Constructing the visual environment and creating knowledge are aspects of the same project challenge assumed by the investigation and does not renounce research. Graphic design is already a reality fully regulated and regulated for the good of society because it does not run away from its responsibility as a configurator of our environment and responsible for the most important source of information for human beings. After several centuries graphic design leaves adolescence and faces its jovial maturity. The design helps.
Presentation by their authors of the 24 projects selected for the gaudeamusPROJECTA awards
15:15 – 16 h
Shapes, images and messages
In one way or another, every project tells a story, and the ability to catch the recipient and make that narrative understandable is the key element that allows the issuer to understand everything that is denotatively and / or connotatively offered. This ability is not magic, it is not witchcraft, it is not intuition: it is persuasion, and as such it can be studied, analyzed, developed, evaluated, empowered … To achieve it, on what do we depend? Of chance, of trend, of fashion, of style …? Víctor Amat will offer us a clear, scientific and contrasted idea of what levers of the human mind must be activated to take advantage, from the assumed ethical commitment, of the resources that human physiology has.
Pablo Mariné (Koln Studio) ▚
Pablo Mariné (Koln Studio)
Every problem that is posed to Koln Studio is a challenge to reformulate the basic ingredients and the topics of the design. Visual communication must confront these initial limitations and offer itself to its recipients without complexes and without a hint of inferiority. Clarity and efficiency do not depend on visual excesses or millionaire investments. Personality and forcefulness do not depend on repetitive self-plagiarism or crude provocation. Accept the challenge, understand the problem and, from there, propose visual bridges in order to understand each other.
the dinamic image
The image is a transversal and universal means of sharing information, understanding and explaining needs and environments. Its plastic values are as relevant as the witnessing function of our reality that it has exercised and exercises at every moment of our history. The Urban Sketching movement is a way of seeing the world, one draw at a time. The Urban Sketcher is respectful to what it sees when and where it is located, respects diversity and works as a team. The result is a community of amateurs and professionals that show the world to the world with unique visions on five continents.
In the world of the image, in any of its facets, the author is necessary, the style is necessary, the personality is necessary, as it is the way to contribute, commit and add to this world. It does not have to be a refuge of egos or vanities. It can be a beacon of projection of the proper ways of seeing and sharing the world from the individual prism, the way of approaching knowledge and the vision that others have of ourselves. Getting closer to this way of collecting reality brings us closer to the same reality as it exists. But this reality offered to us organized and developed from her perspective.
Joan Achon (The Others) ▜
Above, and much more importantly, what makes each solution different, each approach or each commission, is what unites us, the common core, the disciplinary basis of visual communication. Graphic design is this essential block from which they develop, with their own characteristics, many specialties. Understanding this is to add capabilities and improve projects and services. The projects developed by The Others -represented by Achon- show this conception in which the backbone and the derivative are articulated to form a whole that has an aim that is no other than to communicate, always, in the most interesting, surprising, dynamic way, attractive and seductive possible.
Are you looking for commissions or do you already have them? This dichotomy often depends on the economic and socio-cultural environment from which you start. This has been and is still true, but today this is not the only way to be present, to be known or to show what we you can do. The ways of accessing society and the possible “commissioners” have been democratized, and although there are still strata and castes and barriers … we have the means to avoid them and to work in a different way. Sharing the created work fosters a process of co-creation that enriches not only the piece but the whole community. An artist must know how to break barriers of formats and style, and how to boost their work so that it transcends its author and becomes part of something greater.
WORKSHOPS - MASTERCLASS
the image that explains
Virtual media allows us to approach projects that are still only potential with seductive levels of reality. We see what is non-existent in a way so believable that it allows us to extrapolate the sensations, movements, uses and characteristics of a space that is shown to us as “real” when everything is still potential, and to continue working and projecting from this perceived reality. What software can we use, how to optimize resources and times, how to combine platforms, what requirements should we demand from our hardware …
Fernando Baptista ▚
The visual representation of a series of data is not a unique and exclusive path. The keys of National Geographic are simplicity, trying new things and being very precise. We will learn and accompany Fernando Baptista in this way of tests and adjustments, using a combination of techniques for different media, paper and digital.
Carles Puche ▞
What place has and how can scientific illustration contribute to in an environment where digital photography has become widespread? This is the starting point of the workshop. How to build the illustration, how to focus on what is scientifically relevant, how to be respectful of reality and with the interests and needs of research and dissemination. We will see how to generate the image according to needs. Program of objectives, sketches, materials, techniques … Science and art come together.
16:00 – 18:00 h
From explaining to telling
the reproduced image
We live surrounded by letters but how much do you know about them? How many are you able to recognize? How much do you know about the Helvetica? Who was Adrian Frutiger? What source to choose for a signage project? During these two hours we will play a team’s quiz while we review the ins and outs of the world of typography. With typo prizes for the winners! Aimed at graphic designers of all levels.
Marta Cerdà Alimbau
In the new visual culture that surrounds us, the letter stops being a readable unit to become a suggestive image. The credit titles are seen as the logo of the film, as its brand image. As designers we must know how to braid that image and translate it at a typographic level.
What steps, what considerations, what conditions, what aspects, and ultimately, what is laid on the table when Julius Wiedemann proposes an editorial project in Taschen. We will share the methodology that will allow us to know how to go from an idea to a product that is as commercially viable as plastic and technically impeccable. A transversal and integrating vision of the semantic aspect that supports the word design as “planning”. In this workshop we will know how to accompany the “design” of an editorial product.
16:00 – 18:00 h
Creativity, for what?
10:00 – 11:50 h
12:00 – 13:50 h
14:00 – 15:50 h
In an environment where individuals and authorship accompanied by many egos and vanities is the most common, we must consider how to deal with the management and organization of a team and the projects that this team develops, in order to solve the most common challenges in the more logical way. Knowing how to contribute and knowing what we add and what is the responsibility we have is essential, and doing so from the understanding of participation, the articulation of “us” -which includes the applicant and the users of the projects- above the “me”, is the objective of this workshop.
The currents of plastic creation oriented from the individual or welcomed by various groups are inexhaustible and in this ocean of originality the Art Toys is acquiring a really unique personality. We will see how an object, initially projected from the game or, perhaps, collecting, can become a forceful, radical, and always surprising call, and even a call to the conscience of society. From game to complaint, from infant to mature, from standardized to personalized, from cloned to unique … participate and you will know how it is done.
the dinamic image
“Graphic design is the traditional denomination of the current discipline of visual communication”. For active and passive, this is a mantra that we repeat to demonstrate to our society how our activity has evolved and grown. We start to understand that, as in all disciplines, the common trunk is visual communication, and its branches are all those specialties that the time, technologies, capacities or the needs of society demand us. In this evolution, the specialty of moving graphics already has its own personality consolidated. What narration does it take, what features does it have, how does a project that includes movement? In this workshop you will learn what is done, and what can be done with Motion Graphics.
Drawing can be learned. You can learn and develop personal forms that do not have to be considered as academic or artistic or transcendent for Art and its history. To draw, to capture in a plane what we see or imagine, is a characteristic capacity of the human being. Urban sketchers do not have to be excellent drawers if we think of that “excellence” exclusively as a figurative capacity. But that it is not an obligation does not mean that your works are not surprising, interesting, valid and … excellent. In this workshop you will learn to raise, develop, ensure that you faithfully reflect what you see, and share it as well as understand it.
“Conquering the personal forms of doing and the demands of a commission is not always possible. Sometimes I think ahead of what one wants, how I do it is an option and, of course, as such is fully valid. Propose personal forms of doing, having style, is as valid as the opposite. Why not be that way? Let us be aware of it, and we know what and when an option is possible, valid or necessary, both for those who are demanding a project and for us to solve it”. Learn how Martina Paukova collects and develops her challenges, and how she personalizes responses without losing personality, and following her own guide.