UID:
kobvindex_INT0001204
Format:
424 pages
,
chiefly illustrations (colour)
,
27 cm
ISBN:
9783721209136
,
3721209133
Content:
"How does visual creativity arise in the first place and how can visual methods be developed and applied in the production of ideas and variety? Various methods for doing this are presented here under the chapter headings Basis, Interpretation, Variation, Relation and Sequence with over 3000 illustrations. In the course of this work numerous methodical design approaches are presented and mediated. One of the reasons that the results presented here are so varied and frequently surprising, is the variety of the procedures described. For over two decades Armin Lindauer and Betina Müller have searched out, collected and produced work dealing with their understanding of how experimental design can be created by using methodical design processes. They show numerous parallels from completely different areas of activity including advertising, product design, poster art, the fine arts and the sciences. On the one hand historic work is discussed in the book prologue such as that of Gustave Courbet, Claude Monet, Alexej Jawlensky, Pablo Picasso, Josef Albers, Bernd and Hilla Becher, and on the other the work of well-known designers such as Daniele Buetti, Günther Kieser or Stefan Sagmeister is considered. The book is thus simultaneously both a highly specialized technical work and an extensive and very rich atlas of ideas and inspirations. It is an impulse giver without dictating the way and demonstrates once again that creativity is frequently based firmly on methods which in turn it also promotes."
Content:
MACHINE-GENERATED REVIEWS NOTE: "Graphic designer and educators Armin Lindauer and Betina Müller have a vision for 21st-century design. Passionate about the connections between art and science, they propose a 'Copernican Revolution' in the ways we think about creativity, advocating a central role for systematic play that combines rationality with invention. At the heart of their approach is admiration for the creativity that drives science forward, as well as a recognition that some kind of structure exists within even the most open-ended artistic practice. In other words, scientists are much more creative than they are often given credit for and artists intuitively use some kind of structure within their creative practice. There is more common ground between art and science, in terms of process, than is often acknowledged. Lindauer and Müller share an acute awareness of the expansive meeting point between structured and intuitive thought where scientific and artistic processes become integrated. They see huge potential for experimental design as a means of bridging the perceived gap between art and science, revitalising the fundamental connections between these too often falsely separated worlds." -- Kevin J.Hunt, eye No.95 Vol.24.
Note:
PLEASE TURN THE PAGE 7 PROLOGUE 8 DRAFTING A SYSTEM OF VISUAL METHODS 13 1. BASIS 55 2. INTERPRETATION 103 3. VARIATION 163 4. RELATION 273 5. SEQUENCE 345 EPILOGUE 413 APPENDIX 415
,
LANGUAGE NOTE: translation from the German language edition: Experimentelle Gestaltung : visuelle Methode und systematisches Spiel. [Sulgen] : Niggli, 2015
Language:
English
Keywords:
Handbooks and manuals
