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brĂ­fing briefing tibor kalman revista colors colors magazine agencia m&co. m&co. agency influencias grĂĄficas graphic influences bocetos a mano manual sketches bocetos digitales digital sketches

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PARTE ARTÍSTICA

ARTISTIC

REPORT


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BRIFING

PROYECYO El brífing del proyecto se basa en hacer una exposición gráfica sobre un diseñador gráfico importante del siglo XX. Un factor importante del proyecto es que el diseño que se realice tenga que ver de alguna manera u otra con el diseñador en concreto, ya sea graficamente o con un concepto abstracto que le defina. En mi caso, después de realizar una exhaustiva y profunda documentación sobre Tibor Kalman, decidí darle un giro al proyecto dándole importancia a un concepto grafico. Él se define como un diseñador rompedor, dinámico, muy directo e innovador con sus diseños arriesgados. Así que escogí una figura geométrica para expresar una gráfica arriesgada con tramas, figuras y combinaciones de colores destacados para dar una atención visual muy potente.

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PROJECT

BRIEFING The brifing of the project is based on making a graphic exposure about a famous graphic designer of the twentieth century. An important factor is that the project design has to do in some way with the particular designer, either graphically or with an abstract concept that it defines. In my case, after a thorough and exhaustive documentation of Tibor Kalman, I decided to give a twist to the project by giving importance to a graphic concept. He defines himself as a groundbreaking designer, dynamic, very direct and innovator with his risky designs. So I chose a geometric figure to express a risky design with patterns, shapes and color combinations to give a powerful visual attention.

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TIBOR

KALMAN Diseñador gráfico húngaro, famoso por su trabajo en la revista “Colors”. Nació en Budapest pero a los siete años se traslada a Estados Unidos. Ingresó a la Universidad de Nueva York, cursando la carrera de periodismo, que abandonó antes de llegar al año. En el año 1979 Tibor Kalman, Carol Bokuniewicz y Liz Trovato crearon la agencia de diseño M&Co., la cual tuvo a cargo grandes y variados proyectos. Llegando a 1990, Kalman trabajó como director creativo de la revista “Interview” y luego se conviertió en el fundador y editor en jefe de la revista “Colors” patrocinada por la marca Benetton. En 1993 cerró M&Co y viajó a Italia, instalándose en Roma y dedicándose exclusivamente a la revista. En 1995 se alejó de “Colors” y abrió nuevamente la agencia de diseño M&Co. donde continuó trabajando hasta su muerte en Puerto Rico, en 1999. Kalman destacó a lo largo de su carrera por el uso brillante y subversivo que le daba a los recursos gráficos, para crear un lenguaje visual capaz de revitalizar el ambiente saturado de imágenes en que vivimos y por tratar temas tabú como el sexo, las drogas, las enfermedades de transmisión sexual y la pluriculturalidad.

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Hungarian graphic designer, famous for his work in the magazine “Colors”. He was born in Budapest but at seven he moved to the United States. He joined the New York University, pursuing a degree in journalism, he left before reaching the year. In 1979, Tibor Kalman, Carol and Liz Trovato Bokuniewicz created the design agency M&Co., which was very important and had a varied projects. Arriving in 1990, Kalman worked as creative director of the magazine “Interview” and then was the founder and editor of the “Colors” magazine, sponsored by Benetton. In 1993 closed M&Co. and traveled to Italy, settling in Rome and worked exclusively for the magazine. In 1995 he left “Colors” and reopened the design agency M&Co. where he continued working until his death in Puerto Rico, in 1999. Kalman was important in his career by the brilliant and subversive use he gave in graphic resources, to create a visual language abble of revitalizing the saturated image of our environment in which we live and treat taboo topics like sex, drugs, sexually transmitted diseases and multiculturalism.

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REVISTA COLORS En 1990 lo convocó Oliviero Toscani, para que transformara en revista los códigos de las campañas de Benetton. Así surgió Colors, donde volcaría todo su conocimiento durante 13 números monográficos en los que cambiaría el modo de hacer periodismo hablando de temas como el sida, la religión, las drogas, la locura o el paraíso y se centraba en la pluriculturalidad y la concienciación global. Esta perspectiva era comunicada a través de un arriesgado diseño gráfico, tipografía y yuxtaposición de fotografía e imágenes retocadas, que incluían una serie en la que personajes famosos como el Papa o La reina Isabel eran retratados como personajes de minorías raciales.

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COLORS

MAGAZINE In 1990, Oliviero Toscani called him to transform into magazine the codes of Benetton campaigns. Then was born Colors, which would overturn all their knowledge for 13 special issues on they change the way of doing journalism talking about topics such as AIDS, religion, drugs, madness or paradise and focused on multiculturalism and global awareness . This perspective was communicated through a risky graphic design, typography, and juxtaposition of photographs and retouched images, including a series in which famous people like the Pape or Queen Elizabeth characters were portrayed as racial minorities.

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AGENCIA

M&Co.

La firma de diseño M&Co. produjo trabajos comerciales que van desde la publicidad a las portada de CD’s. La lista de clientes de la empresa incluyó New Wave Music Group, Talking Heads, Chiat Day, MTV, Restaurant Flourent, Corporation Limited y muchos otras influencias de la cultura pop. Cuando M&Co. se convirtió en una agencia importante, su trabajo se hizo más selectivo; la empresa empezó a ser una “agencia que cumple con los deseos del cliente”, para tener un mayor control del trabajo antes y después de su producción.

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M&Co. AGENCY The M&Co design firm produced commercial work ranging from advertisements, to CD covers. The firm’s client list included New Wave Music Group, Talking Heads, Chiat Day, MTV, Restaurant Flourent, Limited Corporation, and many other important entertainment and pop culture influences. As M&Co became more established, their work became more selective; the firm began as a “compliant consultancy devoted to assuaging client desires,” to having more control of the work they took upon and what was produced.

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INFLUENCIAS

GRÁFICAS Uno de los elementos más importantes de mi proyecto són la figuras geometricas. El concepto lo saqué des de el inicio de la creación de una marca que representara a Tibor Kalman y el triangulo me funcionaba muy bien: es una figura estable pero con tres angulos de tensión constante, donde cada uno de ellos indica una dirección y un punto visual. El hecho de que provoque tensión va relacionado con la mayoría de sus trabajos, hablando de temas tabús y poniendo de patas arriba la sociedad conservadora que definía su época. Siendo muy seguidora de los blogs de diseño, encontré algunos ejemplos que podria poner como “influencias” a la hora de desarrollar mi proyecto y mis conocimientos aún por explotar del diseño grafico. Un maestro del color y la composición geométrica, el trabajo de Andy Gilmore se caracteriza como caleidoscópico e hipnótico, aunque podría ser descrito como visual acústico, ya sus arreglos complejos con frecuencia hacen referencia a las escalas y melodías de la música. Su extensa lista de clientes incluye a la revista Wired, The New York Times, Fast Company, Wallpaper, Warp Records, y Ghostly International. Actualmente vive y trabaja en Rochester, Nueva York.

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GRAPHIC

INFLUENCES

One of the most important elements of my project are geometric figures. I removed the concept of starting creating a brand to represent Tibor Kalman and the triangle works very well: it’s a stable figure with three angles in a constant tension, where each indicates a direction and a visual point. That will cause tension associated with most of their work, talking about taboo topics and putting legs up the conservative society that defined his era. Being very fan of design blogs, I found some examples that I could put as “influences” for develope my project and and my knowledge in graphic design. A master of color and geometric composition, Andy Gilmore’s work is often characterized as kaleidoscopic and hypnotic, though it could just as well be described as visually acoustic, his often complex arrangements referencing the scales and melodies in music.. Andy Gilmore’s extensive list of clients includes Wired Magazine, The New York Times, Fast Company, Wallpaper, Warp Records and Ghostly International. He currently lives and works in Rochester, New York.

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BOCETOS

A MANO

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MANUAL

SKETCHES

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BOCETOS

DIGITALES

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DIGITAL

SKETCHES

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cartel poster packaging cartel poster packaging cartel entrada entrance poster banderola banner marquesina marquee banderola secundaria lampost entradas tickets identificaciones identifications folleto informativo leaflet cartelas informativas information signs cd promocional promotional cd postales postcards packaging postales postcards packaging camisetas t-shirts packaging camisetas t-shirts packaging bolsa ecolĂłgica ecologic bag fundas iphone iphone covers packaging funda cover packaging chapas badges taza diseĂąo design mug packaging taza mug packaging

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CARTEL POSTER

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PACKAGING

CARTEL POSTER PACKAGING

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CARTEL ENTRADA ENTRANCE

POSTER

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BANDEROLA

BANNER

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MARQUESINA

MARQUEE

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BANDEROLA SECUNDARIA

LAMPOST

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ENTRADAS

TICKETS

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IDENTIFICACIONES

IDENTIFICATION

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FOLLETO INFORMATIVO

LEAFLET

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CARTELAS INFORMATIVAS

INFORMATION

SIGNS

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CD PROMOCIONAL PROMOTIONAL CD

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POSTALES POSTCARDS

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q: do you think the new media will bring about end of print? the a: people are wasting their lives in front of cd-rom's and monitors and i'm dying to do books, maga zines and movies. people havent started fucking with the printed page in a serious way yet, desp ite the fact that they've been able to make it illegible. my belief in print is a belief in ink on paper. everyone complains that it has all been done before, but we haven't even begun. ther e's an incredible amou nt of new tricks up good people's sleeves. i reall y believe that good medi a people can create sexy and symbiotic relationsh ips with corporations that are good for corporations and good for media and good for culture. i can't wait for advertising people to start working on something that makes a differenc it will be incredible. even e, corporations are begin ning to realise that advertising is useless. tibor kalman.


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PACKAGING

POSTALES

POSTCARDS PACKAGING

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q: do you think the new media will bring about end of print? the a: people are wasting their lives in front of cd-rom's and monitors and i'm dying to do books, maga zines and movies. people havent started fucking with the printed page in a serious way yet, despite the fact that they've been able to make it illegible. my belief in print is a belief in ink on paper. everyone complains that it has all been done before, but we haven't even begun. ther e's an incredible amou nt of new tricks up good people's sleeves. i reall y believe that good medi a peop le can create sexy and symbiotic relationsh ips with corporations that are good for corporations and good for media and good for culture. i can't wait for advertising people to start working on something that makes a differenc it will be incredible. even e, corporations are begin ning to realise that advertising is useless. tibor kalman.


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CAMISETAS

T-SHIRTS

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PACKAGING CAMISETAS

T-SHIRTS

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BOLSA ECOLร“GICA

ECOLOGIC

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FUNDA

IPHONE IPHONE

COVER

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PACKAGING

FUNDA

COVER PACKAGING

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CHAPAS BADGES

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TAZA

DISEテ前 DESIGN

MUG parte grテ。fica


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PACKAGING

TAZA

MUG PACKAGING

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cartel poster packaging cartel poster packaging cartel entrada entrance poster banderola banner marquesina marquee banderola secundaria lampost entradas tickets identificaciones identifications folleto informativo leaflet cartelas informativas information signs cd promocional promotional cd packaging cd promocional promo cd packaging postales postcards packaging postales postcards packaging camisetas t-shirts packaging camisetas t-shirts packaging bolsa ecológica ecologic bag fundas iphone iphone covers packaging funda cover packaging chapas badges taza diseño design mug packaging taza mug packaging color tipografía typography

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PARTE

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cartel.pdf

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cartel entrada.pdf

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banderola.pdf

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cartela.pdf

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Título: Sky Umbrella Autor: Tibor Kalman and Emanuela Frattini Magnusson Año: 1992

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Se trata de un paraguas compacto, clásico y negro por fuera, que esconde un secreto en su interior: un bonito cielo azul, con blancas y delicadas nubes de algodón incluidas. Exteriomente parece pequeño pero su varilla puede alargarse hasta llegar al tamaño normal y estándar. Este objeto fué diseñado por la agencia M&Co.


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a: people are wasting their lives in front of cd-rom's and monitors and i'm dying to do books, magazines and movies. people havent started fucking with the printed page in a serious way yet, despite the fact that they've been able to make it illegible. my belief in print is a belief in ink on paper. everyone complains that it has all been done before, but we haven't even begun. there's an incredible amount of new tricks up good people's sleeves. i really believe that good media people can create sexy and symbiotic relationships with corporations that are good for corporations and good for media and good for culture. i can't wait for advertising people to start working on something that makes a difference, it will be incredible. even corporations are beginning to realise that advertising is useless. tibor kalman.


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pack_taza.pdf

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The CMYK color model is a subtractive color model, used in color printing, and is also used to describe the printing process itself. CMYK refers to the four inks used in some color printing: cyan, magenta, yellow, and key (black). Though it varies by print house, press operator, press manufacturer, and press run, ink is typically applied in the order of the abbreviation.

When CMY “primaries” are combined at full strength, the resulting “secondary” mixtures are red, green, and blue. Mixing all three theoretically results in black, but imperfect ink formulations do not give true black, which is why the additional K component is needed.


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blanch typography is super condensed and i like it because is retro. and i love retro types. now is inline but that hurt my eyes when i'm reading this text. oh! now it's light! but i don't like this one.. this typography is designed for the 'fruita blanch' brand, a family-run company. is comprised of 6 weights, 3 condensed weights and 3 caps weights.


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we live in a society and a culture and an economic model that tries to make everything look right. look at computers. why are they all putty-colored or off-fucking-white? you make something off-white or beige because you are afraid to use any other color - because you don't want to offend anybody. but by definition, when you make something no one hates, no one loves it. so i am interested in imperfections, quirkiness, insanity, unpredictability. that's what we really pay attention to anyway. we don't talk about planes flying; we talk about them crashing.


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“I wanted a mature and refined design that would perform as well being used as the back bone of a global brand as it would in an edgy fashion magazine.� &&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&

The Soho GothicÂŽ design, however, is at home in all sizes. From the very thin to ultra, the Soho Gothic design conveys the same message: a crisp energetic celebration of life.

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