Cryptogram / Criptograma

From Wikipedia, the free encyclopedia

A cryptogram is a type of puzzle which consists of a short piece of text encrypted with a simple substitution cipher in which each letter is replaced by a different letter. To solve the puzzle, one must recover the original lettering. Though once used in more serious applications, they are now mainly printed for entertainment in newspapers and magazines. There is also a type of cryptogram in which you have an already written article and you number each word. The first word would be One and the second would be Two... Then you write the cryptogram using the numbers of the first letter of that number's word. example; 1.hi 2how 3are 4you? 2-3-4 would be h-a-y. This is harder because the article has to have a word for every letter in the cryptogram. The person decoding would have to have the article and number it to solve the cryptogram.

Criptograma é um texto cifrado que obedece a um código e a uma lógica pré-determinados para decifrar a mensagem. O criptograma pode ser montado envolvendo números, letras, números e letras esímbolos gráficos. É muito usado nos dias atuais como passatempo em livros especializados, revistas e jornais. [Ler mais...]

Stefan Sagmeister

STEFAN SAGMEISTER (1962-) is among today’s most important graphic designers. Born in Austria, he now lives and works in New York. His long-standing collaborators include the AIGA and musicians, David Byrne and Lou Reed.
When Stefan Sagmeister was invited to design the poster for an AIGA lecture he was giving on the campus at Cranbrook near Detroit, he asked his assistant to carve the details on to his torso with an X-acto knife and photographed the result. Sunning himself on a beach the following summer, Sagmeister noticed traces of the poster text rising in pink as his flesh tanned.
Now a graphic icon of the 1990s, that 1999 AIGA Detroit poster typifies Stefan Sagmeister’s style. Striking to the point of sensationalism and humorous but in such an unsettling way that it’s nearly, but not quite unacceptable, his work mixes sexuality with wit and a whiff of the sinister. Sagmeister’s technique is often simple to the point of banality: from slashing D-I-Y text into his own skin for the AIGA Detroit poster, to spelling out words with roughly cut strips of white cloth for a 1999 brochure for his girlfriend, the fashion designer, Anni Kuan. The strength of his work lies in his ability to conceptualise: to come up with potent, original, stunningly appropriate ideas.
Born in Bregenz, a quiet town in the Austrian Alps, in 1962, Sagmeister studied engineering after high school, but switched to graphic design after working on illustrations and lay-outs for Alphorn, a left-wing magazine. The first of his D-I-Y graphic exercises was a poster publicising Alphorn’s Anarchy issue for which he persuaded fellow students to lie down in the playground in the shape of the letter A and photographed them from the school roof. [Ler mais...] > Design Museum Collection 

Stefan Sagmeister _in Zagreb

Designer Stefan Sagmeister in Zagreb

Respectable and cult designer Stefan Sagmeister is visiting Zagreb this weekend. He will give a lecture and open his exhibition 'Things I have learned in my Life so far' on 24th May at MoviePlex and Glyptoteque.

Edward Tufte

Edward Tufte has written seven books, including Visual Explanations, Envisioning Information, The Visual Display of Quantitative Information, and Data Analysis for Politics and Policy. He writes, designs, and self-publishes his books on analytical design, which have received more than 40 awards for content and design. He is Professor Emeritus at Yale University, where he taught courses in statistical evidence, information design, and interface design. His current work includes landscape sculpture, printmaking, video and a new book.
This website describes Edward Tufte's books, one-day course, and artwork. For further information, call Graphics Press at 203 272-9187, or fax 203 272-8600, or email.

For a moderated forum on analytical design, go to ASK E.T.

[Ler mais...]

Lance Wyman

Selfportrait

I was born in Newark, New Jersey in 1937 and lived the first 19 years of my life just across the Passaic River in Kearny. My father ran a commercial fishing boat and I spent time on the Atlantic with him during grade school years. Kearny was an industrial area and I worked in the factories during the summers to pay my college tuition. The no-nonsense functional aesthetic of the sea and the factories has been an important influence in my approach to design.

In 1960 I graduated from Pratt Institute in Brooklyn, New York with a degree in Industrial Design. At that time graphic design was a European influence that was just being introduced in American universities at the graduate level. When I met a student who studied logo design with Paul Rand at Yale, I knew I wanted to design logos.

I started my career in Detroit, Michigan, first with General Motors, and later with the office of William Schmidt. At General Motors I designed the packaging system for their Delco automotive parts that unified 1,200 different packages. At the Schmidt office I did the graphics for the 1962 USA Pavilion at the trade fair in Zagreb, Yugoslavia. The theme of the exhibition was "Leisure Time". I devised an hourglass logo with a sun and moon image in the top and used it as a gateway to the exhibit. It was my first experience integrating logo design into a three-dimensional environment. [Ler mais...]

Outras referências:
http://www.lancewyman.com/

Saul Bass

Titles Designed by Saul Bass: Introduction

One is pressed to cite an example of an active, self-contained, and characteristic credits sequence in film prior to the work of Saul Bass. Undoubtedly, there are examples that presage Bass’ pioneering work; namely, the famous final credits ofCitizen Kane reprise excerpts from the film, underscoring the footage with actors’ names. Likewise, overtures frequently preceded films of the ‘30s and ‘40s. Many of these are visually complimented by static credits, and in some cases a montage. And despite these examples, in regard to innovation, renown, and influence, Bass’ impact in credits design remains virtually unparalleled, even to this day.

Bass’ expertise in design exhibits a range (his corporate identities and posters are also durable graphic statements), yet his distinguishing aesthetic is one of economy and simplicity. It is in this regard that his work in credits design is of particular significance—his opening for West Side Story, for example, is a solid block of color that morphs according to the overture. Elsewhere (and numerously), he employs hand-drawn type and cutout, construction paper shapes.

In 1964, after sixteen years as a collaborator, Bass began directing his own films including The Searching Eye (1964), From Here to There (1964), and Why Man Creates (1968). His latter effort resulted in an Academy Award—an appropriate gesture of recognition, as Bass may be credited for enhancing the visual strategy of cinema, assigning it another dimension.

Bass’ techniques are various and decidedly inconsistent: cutout animation, montage, live action, and type design to name only his more prominent exercises. Secondly, Bass exhibits an exemplary use of color and movement. Often sequences begin with a solid, empty frame of color (as with Exodus’ blue or North by Northwest’s green). His design tactic in this context, although characteristic, possesses subtly and variety.

Bass died in 1996 at the age of 75.

Affiche Museum

The Swiss Poster Collection: 1970 to the Present > Tour

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