6984
Within the context of an expressive display typeface classification scheme, the handmade letterform can be considered an alternative of visual communication to constitute identity within the field of typography.\nThe gesture as a unique and unrepeatable graphic manifestation -even strengthened by th...
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| Formato: | Tesis de maestría acceptedVersion |
| Lenguaje: | Español |
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Facultad de Arquitectura, Diseño y Urbanismo
2022
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| Acceso en línea: | http://repositoriouba.sisbi.uba.ar/gsdl/cgi-bin/library.cgi?a=d&c=aaqmas&cl=CL1&d=HWA_6984 https://repositoriouba.sisbi.uba.ar/gsdl/collect/aaqmas/index/assoc/HWA_6984.dir/6984.PDF |
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| Sumario: | Within the context of an expressive display typeface classification scheme, the handmade letterform can be considered an alternative of visual communication to constitute identity within the field of typography.\nThe gesture as a unique and unrepeatable graphic manifestation -even strengthened by the reactionary impulse of certain historical contexts- offers a particular intention to resolve signs. The uniqueness of the handmade letterform can be perceived from the imprint granted by the artist along with the techniques used. These conditions allow the designer to take distance from the standardized universe of the digital era and recognize himself as the author of his own work.\nThe study of the Découpe typographic program is based on the development of three expressive display fonts that involve a series of strategic communication pieces designed for the institutional identity of the Graphic Design Festival Paris -an international meeting based in France that disseminates graphic design in all their forms. This study will seek to investigate the subjective conception applied to typeface design and how the particular features of the expressive handmade sign can be sustained, in the face of the systematization proposed by typeface design and the concept of the program that operates in the approach of visual identities.\nTaking this central idea as point of departure, considerations will be approached from a semiological and historical perspective: the multiple senses of the visual message, the voices that inhabit it, the rupture of the universal in pursuit of the deconstructive development of singular identities -or their inclusion, as it is the case of the Qom or Toba community. Creative role models whose ideas and graphic explorations have influenced the design of Découpe, as well as the subsequent visual applications and uses of the program, will also be cited.\nThe research will be nurtured by a plurality of disciplinary contributions with the aim of exploring, putting in crisis and also in value, the scope of the new typographic project and its consequent visual identity development. |
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