Dos caras Buenas noches mis queridos colegas del Arte!!! Vamos ahora a ver acerca de un conjunto de leyes que nos ayudan a ver y mejorar este. Estás leyes, nos ayudan a mejorar las presentaciones a…
Arquitectura, articulos, proyectos, videos, texturas,etc.
Descarga gratis este Vector de Patrón peruano de diseño plano y descubre más de 166 Millones de recursos gráficos en Freepik. #freepik #vector #fondoilustracion #peruano #patrones
Some time ago, when I started the drawing challenge, I found a great blog post with illustrations of different surface textures. I fell in love immediately with the textures (anyhow, I am really f…
A new book explores the physical and chemical reasons behind incredible visual structures in the living and non-living world
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Download this Premium Vector about Circle geometric vector icon, and discover more than 172 Million Professional Graphic Resources on Freepik. #freepik #vector #linepattern #geometriclines #geometrictexture
Bridget Riley is one of Britain’s best-known artists whose career has spanned over 50 years. She first came to notice in the early 1960s with monochrome paintings that explored the dynamics of optical effects. “In my earlier paintings, I wanted the space between the picture plane and the spectator to be active. It was in that space, paradoxically, the painting 'took place…then, little by little, and, to some extent deliberately, I made it go the other way, opening up an interior space, as it were, so that there was a layered, shallow depth. It is important that the painting can be inhabited, so that the mind's eye, or the eye's mind, can move about it credibly." In 1967 Riley began experimenting with colour, and since then her paintings have examined the perception of nature by means of colour and form. “The eye can travel over the surface in a way parallel to the way it moves over nature. It should feel caressed and soothed, experience frictions and ruptures, glide and drift…one moment there will be nothing to look at and the next second the canvas seems to refill, to be crowded with visual events.” Riley was born in London in 1931 and was brought up in Cornwall. She studied at Goldsmiths College between 1949 – 1952 and the Royal College of Art between 1952 – 1955. In 1969 she was the first woman to win the International Prize for Painting whilst representing Britain at the 34th Venice Biennale. She holds honorary doctorates from Oxford University, 1994, and Cambridge University, 1995. She was made a CBE in 1974 and in 1999 was awarded the Companion of Honour. In 2009 she was awarded the Kaiser Ring of the City of Goslar, Germany, one of the world’s most prestigious art prizes. Major exhibitions have included the Hayward Gallery, 1970 and 1992/94; a British Council touring retrospective in the USA, Australia and Japan, 1979; and retrospective exhibitions at Tate Britain, 2003; Museum of Modern Art in Sydney, Australia, 2005; City Gallery Wellington, New Zealand, 2005; and Musee d’Art Moderne de la Ville de Paris, 2008. She lives and works in London, Cornwall and France. Part 1 is showing a selection of Riley's work from between 1961 and 1967. 1961 Kiss acrylic 1962 Blaze I emulsion 1963 Fall emulsion 1964 Hesitate oil 1964 Intake acrylic 1964 Loss oil 1964 White Disks emulsion 1965 Arrest III acrylic 1965 Arrest I emulsion 1965 Descending emulsion 1965 Fragment 2/10 screenprint on perspex 1966 Breathe emulsion 1966 Static 2 emulsion 1966 Untitled, Diagonal Curve emulsion 1967 Cataract 3 pva emulsion 1967 Deny II pva emulsion
Color cascades down a graphic wall hanging made with curved piecing. Fabrics are from the Color Weave collection by P&B Textiles.
I love gallery art. When you have a large, blank wall in your house, groupings of framed art are a lovely way to fill the space. When a collection of botanical prints are used in a gallery…
Göz designed by Kemal Sanli. Connect with them on Dribbble; the global community for designers and creative professionals.
Like any art form, the design and symbolism of Choctaw pottery is subjective. Each generation brings new ideas and interpretations to classic designs. Using traditional motifs today creates a unique and special link to the ingenuity and creativity of Choctaws of the past.
You might have noticed I've been into Russian art this season. This week I looked at the work of yet another Russian artist, Liubov Popova, a founding member, and one of the only female constructivists of the early 20th century. I'm pretty impressed with Popova because of her range
AWS Template of 3-Tier Auto-scalable Web Application Architecture
KILLER ROASTING CO. - Illustration designed by Brett Stenson. Connect with them on Dribbble; the global community for designers and creative professionals.
3 p. \U+fffd\., 53 p., 1 \U+fffd\., 192 pl. 25 cm
Tumbler scrap quilt of many cotton prints, about 1880-1900 One of the reasons I've been indexing charm patterns or tessellations is that I am looking for a charm quilt pattern for my never-ending hand sewing project---some kind of a tessellation, a single pattern piece. My criteria: It has to work easily into a 90 degree quilt. I am too geometrically challenged for the alternatives. I can chat and sew (even drink wine and sew) and not have to rip. So I am exploring geometry---the only school subject I ever got a D in. First I looked at BlockBase, my digital pattern program. I sorted out the regular quadrilaterals---parallelograms with 90 degree angles--- at this post. http://barbarabrackman.blogspot.com/2015/08/tessellations-2-four-sided-shapes.html I am thinking about irregular four-sided shapes. Trapezoids A trapezoid, they tell me on the internet, is a "quadrilateral with at least one pair of parallel sides." The rule is: Any quadrilateral will tessellate. BlockBase #151a There are two trapezoids under One Patches in BlockBase. The Ladies' Art Company named #151 "Tumbler" when they published a pattern in 1898. Quilters had been piecing the design for several years by then. Another published name: "Out Of This World" from the Laura Wheeler pattern source at the Old Chelsea Station post office (OCS) in the 1930s. Tumbler quilt dated 1876. The pattern was popular about the time of our Centennial celebration. The trapezoid can be tall or squat Above and below detail of a charm quilt from about 1900 Another squat tumbler shape. Easy to cut because the ends are 45 degree angles. Any rectangle cut on two sides with this angle would work--- Say a package of Union Blues Layer Cakes first cut into two rectangles, then cut and shaded like this quilt from about 1900. This proportion was most popular with quilters about 1870-1920... ---particularly for scrappy quilts or charm quilts with no two pieces alike The way you shade the tumblers and stagger the rows makes a difference. Tumbler by Irene Goddard Walker, late 19th century, found in the Massachusetts Quilt Project. Picture from the Quilt Index. A tumbler can be seen as half of a six-sided shape. You can shade the fabrics to make long hexagons. Sort of like this. Moonlight quilt kit using Kaffe Fassett fabrics from Cotton Patch UK. I noticed in EQ7 that there is a Quilt Layout button that would be quite useful in planning a Tumbler quilt. In "New Quilt" you are offered several options on how to set your blocks, including the one with the red arrow One Patch Quilt. I always assumed that was just hexagons. But I saw a tip that told me to look into the One Patch Menu and here is one under Patch Style called Trapezoid. You can sketch your tumbler quilt in Alice's Scrapbag or any fabrics you like. But more important---it can do the math for you in figuring out sizes. I did my sketch with a 3 x 2 inch shape because I wanted to cut it out of a 2-1/2" strip, a Moda Jelly Roll. You could plan a 2" x 6 1/2" trapezoid, which would mean cutting 7" trapezoids from 2-1/2" strips. Adjusting the slider at the bottom gives you any proportion you like. The other pattern in BlockBase is the trapezoid set like this (#152a) You can view the larger unit as a triangle or a hexagon. Same pattern; shaded differently Here the trapezoid tessellates into a familiar six-sided shape---a regular hexagon. In 1882 the English needlework writers Caulfeild and Seward named the pattern Right Angle Patchwork---an unfortunate choice as I see no right angles in the whole design. Inner City by Jinny Beyer, 1980 A very important late 20th century quilt Below are just a few of the trapezoids that are not in BlockBase because I never saw them published for quilters. But they are possibilities for charm quilts. A right trapezoid on the left and then an obtuse trapezoid on the right. Talk about obtuse. Is this the charm quilt of my dreams?
Fig. 270 (p. 336) - The construction of rose windows can be seen here as a geometrical division of a large circle with three, four, five or six inner circles. The midpoints of the various inner circles (M) can be found as indicated (according to NETZ, 1982). NETZ, Johannes (1982) - Der Steinmetz. Fachbuch für Ausbildung und Praxis. Callwey Verlag, München. ISBN 3-7667-0620-9 quadralectics.wordpress.com/3-contemplation/3-3-churches-...
Yesterday at WWDC, Apple unveiled a mission statement that reads more like a poem. There’s a wonderful video as well, but just look at these words: If everyone is busy making everything how c…
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Toda profesión necesita desarrollar un cuerpo teórico complementario de su práctica para lograr alcanzar una base sólida, asentar su identidad y definir su ámbito de actuación en la sociedad, más allá de su oficio y de su técnica. Esta reflexión teórica incluye el conocimiento de la historia, de los factores que convergieron para generarla y que hoy nos han traído hasta aquí. Una profesión que no hace una reflexión sobre sí misma basada en el conocimiento del pasado, con una adecuada comprensión del presente y una proyección hacia el futuro, no termina de establecerse como portadora de un conocimiento específico y necesario para realizar una actividad concreta, socialmente reconocida en su especialidad. TIMELINE DESIGN by VIRGINIE AUTRET La profesión de diseñador gráfico, en el sentido en que la entendemos hoy - como una actividad profesional determinada, ligada a sociedades industriales y a actividades comerciales y de comunicación, con un entrenamiento particular y un espacio de actuación diferenciado -, es una disciplina relativamente nueva que ha manifestado un acelerado desarrollo a partir de la segunda mitad del siglo XX. Tal vez debido al carácter flexible de sus intereses, a la enorme amplitud de posibilidades de actuación profesional y a la multiplicidad de respuestas formales y de enfoques diferentes, su aspecto práctico se ha destacado en relación a una producción teórica reducida, aún teniendo en cuenta los esfuerzos de varias personas en distintas épocas. Aunque en años recientes el estudio de la historia del diseño gráfico ha recobrado interés dentro y fuera del ámbito profesional, el material que existe actualmente es escaso. En castellano, evidentemente, la producción (o incluso la traducción de títulos importantes) es todavía menor. Demasiado a menudo, para comprender la evolución, los movimientos, las digresiones y los paralelismos recurrentes que han tenido lugar en la formación y en la transformación de esta profesión, necesitamos ampliar fuentes buscando información en otras disciplinas cercanas como el diseño industrial, la arquitectura, la historia del arte o, en un sentido más amplio, la historia social. Dentro de estos intentos por acrecentar la información que existe y lograr una sólida base teórica para el diseño gráfico, el libro "Historia de diseño gráfico" de Philip Meggs y Alvin Purvis no tiene equivalente, por la extensión y la calidad de los ejemplos seleccionados. En un único volumen, reseña desde los orígenes de la comunicación visual en las culturas prehistóricas hasta la vanguardia digital del siglo XXI e incluye todos los acontecimientos profesionales destacados. Es indudable que el conocimiento del pasado permite una mejor comprensión del presente y que el conocimiento de los otros - a través del contacto con lo que ha sucedido y está sucediendo a nivel mundial - enriquece las propias posibilidades de actuación. En este sentido, en palabras del propio Philip Meggs, “la capacidad para mantenerse en estrecho contacto con su tiempo es un requisito indispensable para quien trabaje en la comunicación visual y muchos de los conceptos más innovadores […] han surgido de su capacidad para conocer y responder a las personas y acontecimientos de su época.” Desde este punto de vista, el material aquí presentado es una guía fundamental que recorre una selección de hitos precedentes y contemporáneos. Al mismo tiempo, al contribuir a asentar y registrar sus orígenes y su desarrollo, es un paso importante y una aportación muy significativa en la construcción de la profesión del diseño gráfico. "Bienvenida sea esta nueva edición en castellano". Sabina Monza-Goday DATOS DE LA DESCARGA Libro “Historia del Diseño Gráfico” Formato PDF | Idioma Español | Nº de Páginas 411 Servidor KatFile | Tamaño 297 Mb Muchos más libros gratis en: - 50 LIBROS DE DISEÑO EN ESPAÑOL GRATIS EN PDF - 30 LIBROS PDF EN ESPAÑOL SOBRE FOTOGRAFÍA - 6 LIBROS SOBRE TIPOGRAFÍA GRATIS Y EN ESPAÑOL - MANUALES ILLUSTRATOR CS3, CS4, CS5, CC (VÁLIDO PARA CS6) EN ESPAÑOL - 60 LIBROS DE DISEÑO EN ESPAÑOL GRATIS EN PDF “No olvides compartir esta entrada a través de tus redes sociales si te ha resultado de interés, gracias.” Mensaje de Saltaalavista Blog Bienvenid@ hasta este pequeño rincón del ciberespacio donde podrás encontrar los mejores tutoriales en español así como una gran variedad de recursos gratuitos, manuales, libros e informaciones de interés relacionadas con el mundo del diseño gráfico, fotografía, dibujo e ilustración en general y con Adobe Photoshop en particular. Todo gratis y en español!!! ENTRADAS RELACIONADAS
POLÍGONOS INSCRITOS EN CIRCUNFERENCIAS Cuando un polígono tiene todos sus vértices en la circunferencia, el polígono recibe el nombre de polígono inscrito en una circunferencia. 1. PENTÁGONO INSCRI…
