Graphic Arts and Design

Los jóvenes de hoy habrán descubierto, a través de adaptaciones cinematográficas, a unos superhéroes de cómic que esconden fabulosos superpoderes bajo la apariencia corriente de su existencia cotidiana. Los jóvenes que pusieron en pie Estampa Popular crecieron al tiempo que criaturas como las de la Marvel escenificaban sobre el papel unas machiae modernas, en las que el bien y el mal poseían unas identidades políticas más o menos soterradas. Francisco Álvarez nos descubre, entre otras cosas, el lado humano de unos artistas que se ganaban la vida con actividades adyacentes al arte y la educación (como tantos otros) pero que, en momentos concretos, se enfundaban el uniforme de EP y de-sarrollaban su particular batalla política a través de unas imágenes muy características.

İlk yayım bilgisi: “İstanbul’un 100 Grafik Tasarımcısı ve İllüstratörü”, 2011.
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Avrupa-Amerikan modernizminin ve postmodernizminin üst söylemleri; grafik tasarım tarihindeki ayrıcalıklı ve önyargılı bilginin kökenlerini oluşturmakta ve Batı’daki gelişmeler tasarım tarihi üretimi için kıstas olmakta... Oysa, Türkiye’nin kendi dinamiklerinden, görsel kültür ve iletişim tarihinden hareketle kendi grafik tasarım tarihini yazması gerekiyor!
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Bir zamanlar basın–yayın dünyasının merkezi ‘Babıâli’ için çalışan, ‘ressam’ olarak anılan sanatkârlar vardı; gazetelerin, dergilerin, yayınevlerinin ve matbaaların gündelik görsel ihtiyaçlarına hızlı çözümler üretirlerdi. Basın–yayın dünyamızın güzel yazı, çizim ve resimleme işleri bu deneyimli zanaatkârların elindeydi. Günümüz grafik tasarımcılarının ‘öncüleri’ diyebileceğimiz Babıâli ressamları, uzun yıllar görsel belleğimizi şekillendirip zanaat’tan tasarım’a geçişin aktörleri oldular.
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Resimli Ay dergisi, 1924 > “Kapak Ressamımız Cevad Bey: Şimdiye kadar bizde mecmua kapaklarını yapmakta Cevad Bey kadar muvaffak olmuş ressamımız yoktur. Cevat Bey kapak ressamcılığının tekniğini en ziyade anlamış Türk ressamımızdır...”

Στην παρούσα εργασία παρουσιάζονται οι τέσσερεις εκτυπωτικές μέθοδοι, offset, φλεξογραφία, βαθυτυπία και μεταξοτυπία. Αναλύονται οι βασικές αρχές λειτουργίας τους, εφαρμογές, εκτυπωτικές μηχανές και τα πλεονεκτήματα – μειονεκτήματα της κάθε μεθόδου

Art and design are at a crossroads in higher education. The choices we make now will affect the future of our disciplines. How will we move forward, making productive changes that enhance our position as vital and valued contributors to the mission of our colleges and universities?

Η παρούσα εργασία έγινε στο πλαίσια της ενότητας "Τεχνολογία Γραφικών Τεχνών" και αφορά στην ανάλυση της δομής και των χαρακτηριστικών του κλάδου των Γραφικών Τεχνών. Σκοπός της είναι η πρώτη γνωριμία με τον κλάδο, τους τομείς ανάπτυξης και την πορεία του

Το στάδιο της προεκτύπωσης είναι το δεύτερο στάδιο της ροής παραγωγής ενός εντύπου. Σε αυτό καθορίζεται η διαδικασία της εκτύπωσης καθώς και οι μετεκτυπωτικές ενέργειες που θα ακολουθηθούν. Η παρούσα εργασία πραγματοποιήθηκε στο πλαίσια της ενότητας "Τεχνολογία Γραφικών Τεχνών" με σκοπό την κατανόηση του περιβάλλοντος της σύγχρονης προεκτύπωσης, της εξέλιξής της στο περιβάλλον των premedia και της διαχείρισης των προς εκτύπωση ή δημοσίευση ψηφιακών αρχείων.

IDENTIFICATION OF THE SIGNIFICANT COMPETENCIES IN GRAPHIC DESIGN IN JORDAN: THE MARKET REQUIREMENTS
Graphic design in Jordan is relatively new discipline in Jordan. It was first started with the emergence of academic institutions specializing in the arts commenced in 1980 with the Yarmouk University Arts Department. The level of research in the field of graphic design in Jordan is still poor in terms of quality and quantity. One reason for this is the shortage of scholars. The purpose of this research study is to obtain consensus and validation from a panel of experts in identifying the essential competencies in graphic design. Utilizing a panel of experts from industry representatives, this study will employ written interviews to gather data from Jordanian industry representatives.
The study also aims to obtain the most needed competencies for employment in today’s graphic design industry in Jordan. The findings would assist in re-planning the curricula in Jordanian Universities according to the market requirement.
يُعد تخصص التصميم الجرا فيكي من التخصصات الأكاديمية الحديثة نسبياً في الأردن، حيث بدء التخصص كبرنامج أكاديمي
في قسم )الفنون الجميلة( التابع لكلية الآداب في جامعة اليرموك الذي أُسس عام ) ١٩٨٠ م(. وقد انعكس العمر القصير
للتخصص على أعداد الباحثين والأكاديمين العاملين في المجال، التي ما زالت أعداداً متواضعة جداً، مما أثّر نوعاً وكمّاً على
الأبحاث والدراسات التي تتناول مشاكل التصميم الجرافيكي في الأردن، لا سيما الموضوعات المتعلقة بدراسة متطلبات
السوق.
يهدف هذا البحث إلى التحقق من لجنة من الخبراء في مجال التصميم الجرافيكي للحصول على إجماع لتحديد المؤهلات
والمها رات الأساسية اللازمة لمهنة مصمم الجرافيك، والمطلوب توفرها في مصمم الجرافيك حديث التخرج. كخطوة من خطوات
تطوير تدريس التصميم الجرافيكي في الجامعات الأردنية. قام الباحث بمقابلة عدد من المصممين العاملين في مجال التصمييم
الجرافيكي في الأردن؛ لجمع المعلومات وآرائهم حول واقع التصميم في الأردن وأهم المؤهلات المطلوبة في السوق.

The aim of this study is to identify the extent of the impact of the design of the Latin fonts on the design of Arabic fonts through modern applications design and for the Arabic fonts production and matchmaking Typography service for the companies and institutions, which now depend on the proliferation in the periphery of the Arab world to the trend toward delivering information through the identity of the company. The Latin and Arabic fonts are the most important typefaces, which are accredited and had been adopted by companies. The researcher focused in the study on the analysis of recent trends for Arabic fonts designers in reliance on Latin fonts to produce Arabic font typography, which is compatible with Latin font of the company. During the research process, the researcher found that this trend has resulted in new designs of the form of the character of modern Arab typeface. The researcher experience during the design of the Arab font of the Latino line will be the most important feature of the Arabic font within the visual interpretation of

مرتضی ممیز طراح گرافیک ایرانی (شهریور 1315 - آذر 1384) است. او که از نوجوانی به نقاشی و طراحی علاقه‌مند بود در جوانی در زمینۀ کاریکاتور تجاربی کسب کرد. پس از ورود به دانشکدۀ هنرهای زیبای دانشگاه تهران نقاشی را آموخت و سپس در فرانسه تحصیلات خود را تکمیل کرد. او علاوه بر کار حرفه‌ای طراحی گرافیک، نقاشی و عکاسی هم انجام می‌داد و طراحی صحنه و نورپردازی تئاتر را نیز تجربه کرد. ممیز در سال ۱۳۴۹ رشتۀ گرافیک را در دانشکده هنرهای زیبا دانشگاه تهران بنیاد گذاشت و سال 1355 سندیکای گرافیست‌های ایران را تأسیس کرد؛ و اولین ایرانی بود که به عضویت «انجمن بین‌المللی طراحان گرافیک» (AGI) درآمد. اولین دوسالانۀ (بینال) گرافیک ایران به همت او راه‌اندازی شد. در کسوت استادی چندین نسل از طراحان‌گرافیک‌ ایران را پرورش داد. او در کنار همۀ این کارها، عامل اصلی شناساندن، ایجاد اعتبار، وجاهت و تثبیت موقعیت گرافیک ایران در عرصۀ بین‌المللی شد و به حق لقب پدر هنر گرافیک معاصر ایران را به خاطر تلاش‌ها، بدعت‌ها و وجه‌ای که به گرافیک ایران را به او داده‌اند.

The theme of the article comments upon ‘reality' as a fabricated space for deceit and when one’s attention is drawn toward the physical break down of ‘the façade’. This specific attempt at concealment will reference The Truman Show and the Fallen Spotlight scene as a technical mishap that becomes the catalyst of suspicion. Further reflection will touch upon how the entertainment industry is exploring immersive sensory experiences that enhance a fictitious version of reality and the alignment with our contemporary preoccupation with ‘reality TV’. The conclusion will speculate on Truman’s existential plight and the profound implications that fiction maybe the only reality we know!

Lecturers and practitioners of art and design have become aware that the current structures in the world of the University of today are fundamentally antithetical to the way that a true Art School needs to function, and has functioned for a considerable amount of time. According to Findeli (2001) design was considered at the Bauhaus [1919] school in Weimar, Germany as a skill taught through drawing, to selected students that were chosen to have the abilities to live up to the multitude of challenges presented to them during their studies. This is not the case today, where the entry criteria are far looser and students are chosen not according to their artistic talent but more according to the unfounded belief that somehow they will magically improve during the course of their studies. Decades of experience of artistic education and training have been discarded for new methods that are of little effectiveness.

大眾文化是「現代性」最典型的產品之一，雖然大眾文化或通俗藝術很多是以印刷品的方式呈現，但也該因其美感的設計和深度的人文思想而得到應有的歷史地位。改編自吳承恩（約1505-1580）名著的《西遊漫記》是藝術家張光宇(1900-1964)於1945 年在重慶所創作的經典作品，整部作品用彩色漫畫形式和白話文構築而成，通俗易懂，堪稱是典型的通俗藝術。張光宇早期在「新舞臺」戲院協助繪製舞台布景，並曾在中國兩大菸草公司廣告部擔任繪圖員，加上他在《世界畫報》、時代圖書公司擔任雜誌編輯等豐富的經驗，成就了他日後創作《西遊漫記》的養份。《西遊漫記》雖然沿用古代到西方取經的故事體裁，但描繪的內容直指1940年代中國的政治與社會現況。這部連環漫畫其內容不只承襲了中國古代宮廷和民間的藝術，同時也受到墨西哥、古埃及和西方現代藝術等異國風格的影響，此外，還加入了飛艇、砲彈等現代物質文明與時事的元素。整部作品充滿了創新的圖像和高度的裝飾性，在近代中國繪畫史上可以說是前無古人的創作。藉由古典小說《西遊記》及墨西哥藝術等的運用或改變，張光宇巧妙且幽默地表現了其內在潛意識的情感和對時政的諷刺。《西遊漫記》不是對《西遊記》的簡單改編，而是一部有明確中心轉移、深思熟慮的改編與變種。《西遊漫記》不但因此為它在近代中國美術設計史上樹立了其經典的裝飾風格，更是將大眾文化和偉大傳統成功合體的典範。

The topic of this volume was inspired by Milan Kundera’s famous article published in 1983 under the title Un Occident kidnappé ou la tragédie de l’Europe Centrale: a text which revived the dispute over the geopolitical and geo-cultural concepts of Central Europe. “The search for cultural identity” is a polyphonic voice in this debate, though the articles included here do not offer any final conclusion to the boundaries and the character – historical, political, and cultural – of the macro-region in question.
The chronological frame of this volume opens up with the year 1919, when France, Italy and Germany adopted the “return to order” ideology, which rapidly spread in the newly established states of Central and Eastern Europe in a form of idiosyncratic nationalisms. The year 2014 was, in turn, a time of retrospection in the countries of the former Eastern Bloc, which (re)gained democracy being at the same time subject to the pressure of outside factors (economic, legal and cultural in the first place) that were different from the pre-1989 ones. The years of political and economic transformation in Europe after the Fall of Berlin Wall were marked by a renewal of interest in the paradigm of national/regional/local identity and the return of traditions which were abandoned/lost during the Cold War as well as the time of worldwide globalization and cultural integration of the Continent. On the opposite side of the national/ethnic/religious self-identification, feminism, Gender and Queer Studies have strengthened their positions, and the tension emerging among the aforementioned stances generates a wide field for discourse on the contemporary condition of a human being, and the idioms of activity/contestation within the democratic society.
“The search for cultural identity” diagnoses diverse attempts to revive or create national/local narratives, as well as various formulae of emphasizing sexual identity with regard to the interwar period, the time of the Iron Curtain and the twenty-five years which have gone by since the abolition of the Cold War demarcation of Europe. What is of equal importance for the discourse of this book is the individual artistic experience, perceived here in the context of increasingly conspicuous resistance to global homogenization and neocolonialism in the cultural sphere. The phenomena of glocalization, to use the terminology of the social sciences, cushioning the effects of the dominance of western cultural models, constitute an important point of reference in the articles incorporated into this volume: a point which enables enhancing the value of local specificity and cultural distinctiveness.

An interview with R.O. Blechman conducted by Jan Ziolkowski and Ariana Chaivaranon at Dumbarton Oaks on November 3, 2018 in conjunction with the Juggling the Middle Ages special exhibition. The transcript and accompanying photos were published in the International Journal of Comic Art.

The festival poster is a basic communication tool for cultural organizations in order to promote their messages, which includes many peculiarities not only in the field of design but also in the field of effectiveness of the communication act. In the first part of this thesis, a brief reference is made to the field of Visual Culture and an overview of the basic concepts of cultural communication, semiotic analysis, intersemiotics, the broad field of the advertising poster and the graphic design, which is considered inherently linked with visual communication. The scope of this theoretical reflection is the advertising poster of the Thessaloniki International Film Festival.
The Thessaloniki International Film Festival is one of the most important cultural events in Greece, the leading festival of Southeastern Europe, the primary and oldest festival in the Balkans for the creation of emerging filmmakers from all over the world, as well as the presentation of the annual Greek production. Each year a poster is created to promote the Festival, which contains the ideological identity of the institution while at the same time it constitutes a form of art with the aim of bridging together both artists and the audience with their work. The aim of this diploma thesis is to investigate the role of the poster from the internationalization of the Festival (1992) until now, in order to identify the parameters of change regarding the communication strategy and the management of the organization’s visual identity, as well as to record possible references to the socio-political conditions, when depicted in its posters.
This case study is of particular interest in investigating how the organization approached the poster in order to communicate with its audience.
The study period covers the years 1992-2017, namely the artistic directories of M. Dimopoulos (1992-2004), Despina Mouzaki (2005-2009), Dimitris Eipides (2010-2016) and Zalanto-Andreadakis (2016- to date, 2017).

This paper aims to show that the reception of British coloured illustrated books in the early twentieth-century reflects the artistic and aesthetic repositioning induced by the development of photomechanical process. Photomechanical reproduction freed the graphic line as well as colour. Reviews published at the turn of the century—as exemplified by The Studio—reveal a tension between opacity and transparency, materiality and lightness, chromophilia and chromophobia. These oppositions apply to the art of the book—as in the books illustrated by Arthur Rackham and Edmund Dulac—as well as to interior decoration. They are subsumed in the image of the peacock’s ocellus, the eyespot that symbolises the exercise of aesthetic judgement. Taste for colour finds expression in a form of tempered chromophilia best understood in the light of three factors: the practice of black and white graphic arts (notably wood engraving), the reception of photography and the revived conflict between line (disegno) and colour.

Rhythm 69 appropriates (and by this I mean it confiscates, deforms, transforms and re-contextualises) works by William Morris, Kazimir Malevich and Hans Richter. During their lives the work of these three artists was considered, in different ways, to be artistically and socially radical, but today their practices are seen as somewhat “dead” and lacking in critical potential. In Rhythm 69 I see if it is possible to create a new burst of energy and life out of their work.