Title: Mad Scientist LabMedia: Ink over Paper
Size: 21,0 x 29,7cm
Friday, December 18, 2009
Saturday, December 12, 2009
News of The World: (30)-06 December
Conferencia Internacional sobre el Cambio Climático Copenhague 2009Sunday, December 6, 2009
Monday, November 30, 2009
News of the World: 23-29 November
25 de noviembre: Día Internacional de Lucha contra la violencia de géneroTuesday, November 24, 2009
Tuesday, November 17, 2009
Tuesday, November 10, 2009
News of the World: (26)-1 November
El alcade de Madrid anuncia que prohibirá a los coches circular por 25 barrios del centro de la ciudad si la contaminación dispara.Saturday, November 7, 2009
ESDIP
COLOR
ANATOMIA
COMIC
DIBUJOMadrid
Noviembre 2009.
Wednesday, November 4, 2009
Trip to Brussels
Num país de contrastes como a Bélgica, Bruxelas é uma cidade de convergências: nela, as culturas francófona e valã assumem-se nas gentes e nos escritos; bairros magrebi e turcos coexistem com os de imigrantes portugueses, pequenas casas de tijolo ladeiam os grandes edifícios da União Europeia, e tranquilos bairros e parques pavimentados com as folhas de outono levam a um centro a fervilhar de gente... tudo isto sob um perpétuo céu cor de cinza.Mas, mais do que uma encruzilhada de imagens, Bruxelas é também a capital Europeia da Banda Desenhada. A cada esquina uma livraria dedicada exclusivamente ao tema, em cada bairro murais dos mais conhecidos personagens pintam o imaginário dos transeuntes, e grandes museus dedicados ao tema.
Em Bruxelas, a Banda Desenhada ocupa por seu direito o lugar de nona arte.
http://www.facebook.com/album.php?aid=119830&id=608141723&l=97ecec6c48
Novembro 2009.
Monday, October 26, 2009
News of the World: 19-25 October
Saramago insulta a Dios en su último libro
Según la Unión Internacional de Telecomunicaciones, 4.600 millones de personas tendrán móviles en el mundo al acabar el añoMonday, October 19, 2009
The Wall
The Wall29,7 x 21,0 cm
Photoshop
An illustration on urban art and freedom.
Madrid October 2009.
Sunday, October 18, 2009
Tuesday, October 13, 2009
Friday, October 9, 2009
Tuesday, October 6, 2009
Thursday, September 24, 2009
Wednesday, September 23, 2009
Saturday, September 12, 2009
Thursday, August 20, 2009
Movie Posters
A Classic Movie Posters database, with descriptions, worth a check!http://www.tccandler.com/columns/100_greatest_movie_posters.htm
Wednesday, August 5, 2009
BD Details
Just another nice detail that you can find in good comic books:
See the picture above? It's called "Le Radeau de la Medusa" by french painter Théodore Géricault about a tragic real story of the 15 survivors of a famous shipwreck in the 19th century and the moment they are finnaly rescued.
The second one is a panel form the well known comic Astérix in a totaly diferent context. See the resmblences?
Furthermore, there is a linguistic pun profered by the pirate captain: "Je suis Medusé" that roughly translates I'm stunned but also takes a jab at the original painting.
Parque del Retiro y Colonia Guell
A couple more drawings made while travelling in Spain.Above a view of Cabana del Pescador in Parque del Retiro, Madrid; below a view of a Brick House in Colonia Guell, Catalunya.
Friday, July 24, 2009
News of the World #06 - June 2009
" Degrowth (in French: décroissance, in Italian: decrescita) is a political and economic ideology advocating a gradual decrease in economic output. Degrowth supporters believe that downscaling production is the only solution to the environmental issues currently faced by mankind. Proponents of degrowth argue that current economic growth is not sustainable over the long term because it depletes natural resources and destroys the environment, and because it fails to help populations improve their welfare significantly."
Wednesday, June 10, 2009
Saturday, June 6, 2009
Monday, May 25, 2009
Design Observer
An interesting site on Design and culture.
Here's an article about old travel posters:
http://www.designobserver.com/archives/entry.html?id=39637#more
Really nice!
Daniel
Here's an article about old travel posters:
http://www.designobserver.com/archives/entry.html?id=39637#more
Really nice!
Daniel
Tuesday, May 5, 2009
Art and the World Today (Study Poposal for the MA Communication Design)
In the global world of today, consumerism and the increasing dominant role played by the mass media in our society are bringing huge and dramatic changes not only in a communication and cultural level, but also to human behaviour and the way we perceive reality.
In fact, as we watch a growing cultural homogenization and a virtual shortening of distances, we assist at the same time to a degradation of human life and art through a mass media and commodity fetishism[1], mainly through an overexposure to spectacular images that produce a growing alienation towards the reality we live in.
The work of the Situationist french writer Guy Debord, La Société du spectacle (1967), is very illustrative of this. With the term spectacle, Debord defines the system that is a confluence of advanced capitalism, the mass media, and the types of governments who favor those phenomena. The spectacle is the inverted image of society in which relations between commodities have supplanted relations between people, in which passive identification with the spectacle supplants genuine activity. "The spectacle is not a collection of images," Debord writes. "rather, it is a social relationship between people that is mediated by images." [2]
The effects are evident, as we assist to an increasing number of solitary people, even in huge metropolis, with the substitution of person-to person relationships by virtual social networks, a growing alienation towards social problems, a stupidification of our leisure time, a hindering of critical thought, the creation of false necessities, among others.
So where does art stand is this context?
Nowadays, the independence of art is more and more an arguable concept – in one hand we have the commercial art, in which the system imposes a standardized pleasable image destinated to sell the product, in the other hand we have the conceptual art, that most of the times is valued not by its content but by using spectacular images, through status or shock value.
The stupidification of our leisure time and artistic production (cinema, literature, plastic arts etc) is sythomatic of that. One doesn’t pretend an art that makes us think, only as art to consume. The space to a critical art or of social comment is often relegated to editorial cartoon, poster art, street art or alternative movements of local projection.
My aim and proposal is "to wake up the spectator who has been drugged by spectacular images," through an art that creates "a sense of self-consciousness of existence within a particular environment or ambience" [3]
In my perception, to justify its value, art should have a clear content (to induce self-consciousness) and must be amoral, which means it must not pass judgment in the events, only show the contradictions of humanity and of the reality of its time.
The media I wish to explore are either editorial cartoon, poster art, comic narrative or illustration on the themes of general social comment, or through narrative, documenting simple human relationships and daily life.
(...)
[1] Marx, Karl; Capital, Volume I Ch. I, § 4, ¶ 1
[2] Debord, Guy; The Society of the Spectacle, Thesis 4.
[3] Ford, Simon; The Situationist International: A User’s Guide
Daniel Garcia
Lisbon, April 2009
In fact, as we watch a growing cultural homogenization and a virtual shortening of distances, we assist at the same time to a degradation of human life and art through a mass media and commodity fetishism[1], mainly through an overexposure to spectacular images that produce a growing alienation towards the reality we live in.
The work of the Situationist french writer Guy Debord, La Société du spectacle (1967), is very illustrative of this. With the term spectacle, Debord defines the system that is a confluence of advanced capitalism, the mass media, and the types of governments who favor those phenomena. The spectacle is the inverted image of society in which relations between commodities have supplanted relations between people, in which passive identification with the spectacle supplants genuine activity. "The spectacle is not a collection of images," Debord writes. "rather, it is a social relationship between people that is mediated by images." [2]
The effects are evident, as we assist to an increasing number of solitary people, even in huge metropolis, with the substitution of person-to person relationships by virtual social networks, a growing alienation towards social problems, a stupidification of our leisure time, a hindering of critical thought, the creation of false necessities, among others.
So where does art stand is this context?
Nowadays, the independence of art is more and more an arguable concept – in one hand we have the commercial art, in which the system imposes a standardized pleasable image destinated to sell the product, in the other hand we have the conceptual art, that most of the times is valued not by its content but by using spectacular images, through status or shock value.
The stupidification of our leisure time and artistic production (cinema, literature, plastic arts etc) is sythomatic of that. One doesn’t pretend an art that makes us think, only as art to consume. The space to a critical art or of social comment is often relegated to editorial cartoon, poster art, street art or alternative movements of local projection.
My aim and proposal is "to wake up the spectator who has been drugged by spectacular images," through an art that creates "a sense of self-consciousness of existence within a particular environment or ambience" [3]
In my perception, to justify its value, art should have a clear content (to induce self-consciousness) and must be amoral, which means it must not pass judgment in the events, only show the contradictions of humanity and of the reality of its time.
The media I wish to explore are either editorial cartoon, poster art, comic narrative or illustration on the themes of general social comment, or through narrative, documenting simple human relationships and daily life.
(...)
[1] Marx, Karl; Capital, Volume I Ch. I, § 4, ¶ 1
[2] Debord, Guy; The Society of the Spectacle, Thesis 4.
[3] Ford, Simon; The Situationist International: A User’s Guide
Daniel Garcia
Lisbon, April 2009
Saturday, May 2, 2009
SEMINARIO INTERNACIONAL DE JAZZ DE ZARAUTZ COMPETITION
This is the poster with which I entered the competition for designing the image for the X. SEMINARIO INTERNACIONAL DE JAZZ DE ZARAUTZ, in Euskadi, Spain. Promoted by the Ayuntamiento de Zarautz, Gipuzkoa.Daniel
Barcelona, May 2009
Sunday, April 12, 2009
Wednesday, April 8, 2009
2ND NATIONAL PRIZE "European Union and Citizenship" Comic Competition
This is the work which granted me the 2ND NATIONAL PRIZE in the Comic Competition "European Union and Citizenship" promoted by the European Commission’s Directorate-General for Justice, Freedom and Security, and coordinated in Portugal by Oikos - Cooperação e Desenvolvimento.
The competition, promoted by the European Union, was destinated to any resident in the EU more than 16 years old, whatever his nationality. The main purpouse was to create a comic strip/illustration in a single page, without text, that could ilustrate the concept of citizenship within the EU.
The competition, promoted by the European Union, was destinated to any resident in the EU more than 16 years old, whatever his nationality. The main purpouse was to create a comic strip/illustration in a single page, without text, that could ilustrate the concept of citizenship within the EU.
works at: http://www.eurocartoon.eu/
Lisbon, April 2009
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