The sword was the weapon that delivered the most damage!
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NEW IDEAS AND REVELATIONS FROM OLD TECHNIQUES
Finden die Flaggen SEIDENDRUCK
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The Witches’ Sabbath by Hans Baldung (1510) as a recent translation from
the original Spanish.
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Looking at the work of three creatives whose approach differs in obvious ways – impulsivity versus a perfectionist’s restraint – as much as subtler signals, what loops them together is their dedication to a craft and the desire to produce something new.
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The studio was co-founded in 1984 by brothers Fernando (1961) and Humberto (1953) Campana.
Willkommen im führenden Schweizer Museum für Design und visuelle Kommunikation. Das Museum empfängt Sie an zwei Standorten in Zürich an der Ausstellungsstrasse und im Toni Areal – 1878
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La representación más temprana procede de la tumba de Kenamon, que vivió durante el último reinado. La tumba de Nebamun poseía un conjunto de pinturas murales de la XVI Dinastía que se encontraban en la necrópolis de Tebas.
The Renaissance saw an increase in monumental secular works, but until the Protestant Reformation Christian art continued to be produced in great quantities, both for churches and clergy and for the laity. During this time, Michelangelo Buonarroti painted the Sistine Chapel and carved the famous Pietà, Gianlorenzo Bernini created the massive columns in St. Peter’s Basilica, and Leonardo da Vinci painted the Last Supper. The Reformation had a huge effect Won Christian art, rapidly bringing the production of public Christian art to a virtual halt in Protestant countries, and causing the destruction of most of the art that already existed. As a secular, non-sectarian, universal notion of art arose in 19th-century Western Europe, secular artists occasionally treated Christian themes (Bouguereau, Manet). Only rarely was a Christian artist included in the historical canon (such as Rouault or Stanley Spencer). However many modern artists such as Eric Gill, Marc Chagall, Henri Matisse, Jacob Epstein, Elisabeth Frink and Graham Sutherland have produced well-known works of art for churches. Through a social interpretation of Christianity, Fritz von Uhde also revived the interest in sacred art.
METAL & ANIMAL SKELETAL BONES: CHILDHOOD FAMILY TRAUMAS “BRED AN EXORCISM IN ART”
So where did rave come from? For some, it began with the south and west London Balearic kids at Shoom and Spectrum, bringing back the blissful combination of euro beats from their Ibiza holidays. Not everyone agrees and, perhaps, its true origins were further East, with faster, harsher beats uniting loved football hooligans and veterans of the squatter and warehouse party scenes. However, this is all too London-centric for many. What of the Hacienda club and its transnational connections at the centre of Madchester, or Sheffield’s early adoption of electro and Chicago house cementing its status as bleep city? Or Birmingham getting Detroit techno first because it too was a motor city? These competing origin stories tell of rave’s international character, pilfering the many genres of African-American dance music (disco, electro, house, garage) to filter them through the UK’s subcultural milieu, adding the euro dimension, where techno was the anti-fascist soundtrack in post-unification Germany, and acid house ‘new beat’ spurred the growth of production powerhouses in Belgium and the Netherlands. Even the Balearic origin site of Ibiza became just one stop on an international rave trail spreading Goa trance and Psytrance around the globe. But these stories also tell of another side of rave: while electronic dance music was universal and global, and the collective experience of raving instantly recognisable from London to Berlin, from Manchester to Chicago, it was also an intense signifier of local place and space. Rave meant actually coming from somewhere. So what did it mean to come from somewhere? It starts with a moment, separating a before, and an after. It might be sparked by a drug, ecstasy especially, but really this drug experience meant a wider discovery, of belonging, of discovering different attitudes to race, sex and gender; to dancing bodies and sharing personal spaces; and to culture, from increased travel, more pleasure, and growing cosmopolitanism. Coming from somewhere meant being part of this wider shared change.
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The original idea for this serif typeface came about in 2018, when Fermin visited Zurich and encountered a hand-painted sign with very distinctive letter-shapes featuring highly elongated serifs with unusual proportions and contrast. This signage became the starting point of the project. Sakral keeps the handwritten, painted in this case, structure and general feel, and combines it with constructed details echoing the context where the sign was located — Zurich's old town. Medieval armoury imagery, such as knights, swords and battles, acted as source of inspiration for this typeface. The result is a vibrant and idiosyncratic typeface with a contemporary look and strong visual appeal.
Sakral won the Silver Award at the Latin American Design Awards 2023.
2022 / Extended in 2023
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