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This Week: L’accademia delle arti e nuove tecnologie. I corsi. Grafica. Arredamento. Multimedia. Il lavoro del pubblicitario. Il ruolo dei caratteri. L’importanza delle strutture. Basic Design. The next big thing: Margherita Fortuna. Feautured Artist: Shiny Binary. Nik Ainley. Let’s talk type: Jos Buivenga. Meet the Museo Font. Are you a Comic Sans Criminal? Minimal Logos that say more with less. Derek Lea. Creative Photoshop.

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L’ACCADEMIA DELLE ARTI E NUOVE TECNOLOGIEwL’Accademia delle Arti e Nuove Tecnologie nasce a Roma nel 1992 come laboratorio sperimentale per la formazione nel campo del design, della grafica pubblici-taria e della comunicazione web multimediale. L’Istituto è organizzato secondo un innovativo modello didatti-co centrato sull’operatività, capace di coniugare ricerca concettuale e sperimentazione pratica in una cornice di marcata specializzazione. I corsi dell’ Accademia:

Grafica

Arredamento

Multimedia

Art DirectionArt WorkBasic DesignFotografiaGrafica EditorialeIllustratorPhotoshopXpressLeTTeriNgDreamweaverFlashIndesign

Art DirectionArt WorkBasic DesignFotografiaGrafica EditorialeIllustratorPhotoshopXpressLetteringDreamweaverFlashIndesign

Piazza Della Rovere, 107 00165 Romatel. +39.066864008fax +39.066864008

info@accademiadellearti.it

#grafica

-MARGHERITA FORTUNA

21 years old. Italian. She’s currently studying graphic desing at Accademia delle Arti e Nuove Tecnologie. Photoshop addicted. Music is my source of inspiration. Sometimes I express myself through quotes.

L’importanza delle strutture.

Ogni forma possiede una propria struttura di base, che ha lo scopo di caratterizzare l’essenza formale del campo. Il corso di Basic Design, pro-pone lo studio degli elementi primari della grafica, della teoria della forma e della configurazione, della teoria del campo, delle strutture e dei fattori di percezione visiva elaborando i pro-getti in base ai concetti appresi.

il ruolo dei caratteri.

Gli obiettivi formativi del corso di Lettering sono i seguenti: portare a conoscenza gli studenti del ruolo cen-trale dei caratteri (da stampa e da vi-deo) nell’ambito della comunicazione visiva, ruolo che si riassume nel termi-ne tecnico di ‘tipografia’; apprendere il disegno delle forme di base dei ca-ratteri dell’alfabeto latino; conoscere la storia e la morfologia dei caratteri; riconoscere e classificare i caratteri; apprenderne le regole principali per un uso consapevole nel fare grafica.

Progettazione grafica ii

Partendo dall’analisi dei segni e dei simboli, si percorrono le diverse fasi di realizzazione di un marchio/logotipo: attraverso esercitazioni collettive e individuali si affronta-no briefing e ricerca, brainstorming, strategia progetto, sintesi, colore, ottimizzazione, presentazione. Suc-cessivamente si definiscono le me-todologie progettuali ed esecutive per lo sviluppo dell’identità visiva di un’entità, cioè la declinazione del marchio ai vari supporti di comuni-cazione e la definizione del manuale operativo che ne regola l’uso.

il lavoro del pubblicitario

Il corso di Art Direction propone come punti fondamentali lo stu-dio delll’Agenzia di Pubblicità: ruoli dwwsi reparti con particolare atten-zione alle figure chiave dell’Agenzia, account, creativi, produzione. Il flus-so di lavoro all’interno dell’Agenzia: dal brief di marketing all’on air della campagna. Cosa è una brand e come la si costruisce.

grafica editoriale

Il corso di grafica editoriale ha come obiettivo formativo la realizzazione di qualsiasi tipo di prodotto editoria-le, La formazione prevede elementi di teoria e di storia della grafica edito-riale, approfonditi con laboratori di progetto specifici. il corso affronta i fondamenti base della grafica edito-riale, in particolare: teoria del colore, storia e analisi del supporto carta, formati e riproducibillità, interazione lettering-immagine, teoria e applica-zioni delle regole di design editoriale.

Progettazione grafica i

Gli obiettivi formativi del corso sono i seguenti: applicare e sviluppare le regole di base di lettering e di grafi-ca editoriale apprese nel corso del I anno, nell’esecuzione di progetti arti-colati e complessi: il progetto di una fotn da titoli (lettere e numeri maiu-scoli), sviluppata a partire da modelli esistenti e presentata in uno specimen e in una serie di applicazioni.

* Copertine cd realizzate da Margherita Fortuna anno accademico 2010/2011

C 0% M 45% Y 95% K 15%

LOGOTIPO C 10% M 5% Y 5% K 10%

* Marchio realizzato per la rock band Interpol | anno accademico 2010/2011Corso: Progettazione Grafica II

SHiNYBiNArY

Nik Ainley is a UK based illustrator who pro-duces both personal and commissioned work. He rather bizarrely taught himself Photoshop in his spare time while gaining

a degree in physics at Imperial College in London. He enjoyed it so much he ditched physics and moved full time into design and illustration.Nik is constantly trying to further his expertise in di-gital media, and won’t stop until he has mastered all the tools he needs to fully realise his ideas. He uses whatever techniques he can get his hands on to achieve the desired effect and is happiest when le-arning new ways of creating graphics. Shinybinary.com was first launched in 2004 as an online portfo-lio for Nik and has since attracted over four million visitors. As an illustrator, Nik has received considera-ble exposure, his work featuring in many magazines as well as on websites, in books and in exhibitions.http://www.shinybinary.com/

ART AND DESIGN OF NIK AINLEY

Since a few years he succeded to acquire notoriety in the world of graphic: in 2006 he was listed as one of the “Top 10 up-and-coming creative talents of 2006” by Computer Arts magazine, and later as “the Com-puter Arts artist of the moment”. He worked also for many clients as Adobe, Audi and MTV. His works are a blend of images retowuching vector forms, 3D and typography.

Who’s Nik Ainley?

Q: So HoW LoNg HAve You BeeN DoiNg DeSigN?Nik: It’s been about 5 years now, although at the start it could barely be called design, just random Photoshop doodling.Q: HAve You ALWAYS DoNe DeSigN, or DiD You STArT iN ANoTHer FieLD?Nik: Well it’s the only job I’ve done professionally. I started off as a web designer based on my ability to produce graphics and the fact that web coding is pretty easy. Since then I have moved into pure illustration and design as I find it more creatively rewar-ding. I actually have a degree in physics though, and was probably going to be using that for my career before I found design.Q: Do You FreeLANce For A LiviNg, or Do You HAve AN eMPLoYer?Nik: I freelance, all my work is commission based.JH: WHAT Do You Do iN Your SPAre TiMe?Nik: Oh all the usual stuff, going out for drinks, reading, playing games down the pub, computer games. I go to see a lot of live music as well. I try to make it to a gig every 2 weeks at the least.Q: WouLD You MiND giviNg our reADerS A BrieF overvieW oF WHAT AN AverAge DAY iS Like For Nik AiNLeY?Nik: That’s very difficult as it changes massively depending on if I have a lot of work on or not. If I don’t I could literally check my emails and then spend the rest of the day out or messing about the house. If I’ve got a serious job on and need to get work I might spend 12 hours at the computer and barely talk to anyone.

“At the stArt it could bArely be cAlled design, just rAndom

PhotoshoP doodling.”

Q: A LoT oF Your Work iS reMiNiSceNT oF TrADiTioNAL ArT-Work, Do You Like Free HAND DrAWiNg (iNkS, PAiNTiNg, eTc) AS WeLL?Nik: Not at all actually, I am a purely digital artist. Partly because I’ve never really done traditional art and so would be rubbish at it, but also because I have very literal interest in it. The power of the computer for producing art is so exceptional I would feel like my hands were tied with traditional art.Q: WHAT HAS BeeN THe MoST FuN ProJecT To Work oN?Nik: I couldn’t pick one really, generally I have the most fun when I’ve just started a personal picture and I’m getting something I like going. Since I have complete creative freedom with these projects and no deadline it can great fun just experimenting.Q: WHAT iS Your FAvoriTe WeBSiTe?Nik: Probably something boring like the BBC news site. I waste half of my time reading any old rubbish on that site.

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Are You A coMic SANScriMiNAL?

MEET THE MUSEO FONT

If you frequent design and CSS galleries, you may have stumbled time and time again upon an excellent type-face released last year that took the design world by storm. It’s been adopted so quickly and fondly by web designers across the world. It’s been listed as one of the top 10 fonts of 2008 by MyFonts.com

JoS

Q: cAN You TeLL uS A BiT ABouT YourSeLF?JoS: I was born in 1965. I live in Arnhem and work 4 days a week at an advertising agency as an art director. My love for type de-sign started about 15 years ago. I was playing around on my first MAC with a very early version of Quark Xpress. While I was doing that I kept wondering what it would be like to set a piece of text in my very own font.Q: HoW WAS MuSeo coNceiveD?JoS: Museo was conceived out of the love for one letter form. In some kind of daydream I saw before me the letter ‘U’ with the endings bent. So it really started with my love for the letter ‘U’.Q: cAN You TeLL uS A BiT ABouT THe DeSigN ProceSS?JoS: The design of Museo was fairly straight forward. I remember a few things that really determined the design. Museo looked a bit like some piece of bent metal wire so I thought of making the stro-ke contrast as low as possible and I also wanted to keep the shapes simple like for instance a nice round geometric “O”.I planned 5 weights for Museo. At first, I thought of just calcula-ting the weights in a linear way. I made a Multiple Master of the extreme weights and this is how I first generated the three medium weights in the beginning.

W hen it comes to type, some great things have come out of Arnhem in the Nether-lands. Jos Buivenga is no exception. Art Director and type designer, well-known for

his quality free fonts, Jos is quite a talent, and has quite a passion for type.

“it really started with my love for the letter U”.

Who knew that a college graphic design project could turn into an overnight viral sensation?On Tuesday, December 22nd, UK-based graphic de-sign student Matt Dempsey, 21, launched a cute pri-mer called comic Sans criminal.The elegant site instructs amateur designers how to use the most juvenile-looking typeface in a designer’s toolbox. His cheeky project caught on, causing the font to trend on Twitter on Wednesday and gaining nearly 200,000 unique viewers in the first 30 hours of its launch. More a handy guide than a manifesto, the pages communicate with beautiful typography and simple images. Comic Sans Criminal tells us not only the pitfalls of poor design but also that side projects that we’re passionate about can make a huge impact.

ALL FoNTS HAve A PurPoSe

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The use of logos as a business tool dates back as far as ancient Greece. Maybe, even further back than this. Traders and merchants initially used them so that they

would be easily recognized. Today they have a si-milar meaning. Logos have also been used extensi-vely in the past on trademarks. If we go back as far as the 13th Century we will see that many trade-marks from noble trades such as Gold Smiths, Pa-per Makers, Printers and even the Nobility of the time were used to state quality of merchandise or just plain quality. The logo was usually stamped on to the product or displayed as a watermark. Today a trademark or business logo is used as the pinna-cle of your business. It says everything about your company. It says that you belong in the corporate world and in that world you have an identity and that identity represents quality. It would be infea-sible for instance to imagine the likes of Coca-Cola with out it’s instantly recognized logo. This is what every company is striving for. Instant recognition in it’s field of expertise.

MiNiMALLogoS

THAT SAY MORE WITH LESS

A logo is the visual cornerstone of one’s branding. While some logos are complex, often the most me-morable ones are those that are simplistic. Instead of relying on detailed graphics and icons, these minimal logos rely on creative typography, simple shapes, and clever negative space to tell the story.

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Derek LeATHE GENIUS OF DIGITAL ART

After working for years as an art director, graphic desi-gner, and professional retoucher, Derek Lea set his sights on illustration. It was through his years spent as a retou-cher that he began to explore the creative possibilites that Photoshop had to offer.

IF you are a digital artist, illustrator, cartoonist, graphic artist or de-signer who is familiar with Photoshop, but want to push the pro-gram to the limit, this book is for you!Learn how to get professional results from the paint features in

Photoshop. Create sharp illustrations by combining vectors and pixels. Ex-plore less-than-obvious composition methods, and discover the hidden po-tential in unlikely artistic resources and materials. Play around with texture using spray paint effects and scanned elements, or age faces and objects. Use stencil tags and comic book coloring techniques. Learn how to bring 3D art to life! Maximize your creativity AND efficiency with invaluable information on working between Photoshop and Illustrator.

Chapter 19: Representational Surrealism

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Representational Surrealism

W hen you glance at an image like this, it becomes immediately apparent that it has a story to tell. The first thing you see is the large figure in the center being reborn. A new self bursts forth from the old self, and smaller elements on the perimeter of the image add to the narrative. The face looking through the

magnifying glass represents self-analysis. The painting at the right represents a lack of focus and feelings of fragmentation. The figure with the hole in his chest represents emptiness. This image was autobiographical and all of the secondary elements represented my feelings at the time. I was due for a change and had made the decision to seriously pursue art. The figure in the center represents the cathartic relief I felt, and continue to feel to this day as a result of my decision.

Not only is the image shown here representational in terms of style, but it is also representational of my thought processes at the time of its creation. Apart from the subject matter, this image also meant change for me in terms of technique. It was the first time I decided to use photography as a resource to be heavily manipulated within an illustration. Manipulated, that is, to the point where it appears to be more painting than photography . What you’ll learn in this chapter surpasses any mere collage technique.

Chapter 19

Experience with the Pen tool will be helpful as the creation of precise vector masks is important. Also, experience with the Brush, Blur, and Smudge tools will aid you in achieving smooth and painterly results. This portion of the chapter can be quite time consuming.

Prize: £22.99Pages: 422User Level: Intermediate to Advanced Digital Artists

hdemya è un prodotto settimanale a cura dall’Accademia delle Arti e Nuove TecnologieDirettoreGiancarlo D’OrsiArt DirectorMargherita FortunaPhoto editorFrancesca Morsiniufficio graficoAccademia delle Arti

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