Posters

Starbucks is one of the biggest American coffee company which was founded in 1971. The assignment covers the company information such as mission and vision statements. Additionally, Process of Project and Process Flow are the main part of the poster. Concluded by current and future plans. This poster was submitted to the Limkokwing University of Creative Technology, Malaysia as a part of the Project Scope assignment.

Catalogo dei materiali prodotti dalla casa editrice ED.912 fondata da Gianni Emilio Simonetti, Gianni Sassi e Sergio Albergoni, interamente illustrato a colori, 84 schede ragionate. Con un testo di Gianni Emilio Simonetti («Les feuilles mortes... ovvero la pensée sauvage»). Introduzione di Paolo Tonini («Il quarantotto... il sessantotto... le pitrentotto...»). . Prima edizione. Edizione costituita da una tiratura di 12 esemplari numerati a mano da 1 a 12 e timbrati dall'editore, contenenti una tela originale polimaterica 19x14 cm., firmata, di Gianni Emilio Simonetti; e una tiratura ordinaria di 60 esemplari non numerati.

Miguel Orozco's Catalogue Raisonné of Picasso Posters is quite different from previous compendia of his affiches. It contains 412 posters included in the Czwiklitzer dtv catalogue, which in total has 475 entries. But the Orozco catalogue gives full entries to 31 'subordinate' posters that in the German catalogue appear as letters accompanying the main entry, i.e., the first poster of the series. This means that the present compendium uses in fact only 381 'main' Czwiklitzer dtv entries and discards 94 Czwiklitzer posters, not counting the 'subordinate' posters we have not included. And it only oncludes 346 out of the total 630 posters contained in the Rodrigo catalogue, leaving out some 280 of them. None of the posters left out has any intrinsic artistic value.
The main objective, the main contribution the Orozco book makes is to put the emphasis on the main, the noble Picasso posters, providing as far as possible a description of Picasso's involvement and telling the story of the work. It also incorporates some 100 additional items, not counted in the total of 947 main entries, which seek to clarify and or support the value of the poster or to explain the origin of the illustration used.  It also unveils over one hundred posters not covered by either Czwiklitzer or Rodrigo. It uncovers many Picasso poster projects that had not been tackled by the catalogues raisonnés. They undoubtedly have an interest in the study of Picasso's poster making endeavours. And last but not least, it publicizes tens of Picasso poster projects or realisations that were designed as posters and were displayed as such, but were formally only newspaper covers. They were actually poster-sized and were posted as posters in the press-kiosks in the cities they were published.

Abstrakt: The 17th and 18th century emblems strongly marked their presence in everyday life. They drew attention, intrigued, made people reflect. They were an inseparable companion of man. They dignified important events, both private and public ones. Today these are the functions of posters. Therefore, it seems justified to deliberate whether the two fields of art are somehow linked or whether each of them is something totally different.

The open access movement is an emerging issue in Spain, but it is becoming a familiar term within the scientific community. It has advanced in the past three or four years with more frequent initiatives related to repositories and open/free journals. The 246 registered signatories of the Berlin Declaration include 21 Spanish institutions, most of which signed it in 2006. The Registry of Open Access Repositories (ROAR) and the Directory of Open Access Repositories (OpenDOAR) have in their records 32 and 22 open access repositories from Spain, respectively, but these figures do not represent the real ones, since there are more that have not registered yet (see BUSCA REPOSITORIOS ), and others that are listed in those directories which are not repositories but journals or aggregators The oldest repository in Spain Tesis Doctorals en Xarxa ('Networked Doctoral Theses') was created in year 2001, but most of the Spanish institutional repositories emerged at the end of 2004 or the beginning of 2005 . Nevertheless, there is evidence that more have been created and announced in recent months . These data do not correlate with the DRIVER I inventory study in which the response of the 12 invited (those registered at that time in OpenDOAR) was very low (3 answers). However, the international presence of our repositories, measured as participations in OA initiatives, is increasing as described below. Respect to Spanish forums, related to repositories and in general to the OA movement, at least there are 3 very active: the OS-Repositorios (= Open Science-Repositories), GUDE (Dspace Spanish users group) Open Access Madrimasd ( A. Lopez's blog supported by Madrid Regional Government and ). The first two groups hold meetings and workshops periodically about hot topics related to repository issues.

ABSTRACT Through the study of plurilingual posters for pop concerts, musical performances, sports events and other cultural and entertainment events, this paper investigates language status and functions, motivations of linguistic choices, discourse practice and social practice in three distinct institutional contexts, and takes the multilingual Chinese society of Macao as a case study. The distribution and representation of languages in posters show the shifting power relations and display the reader positioning in situations of language contact between Traditional Chinese characters, Simplified Chinese characters, Portuguese, English, and written Cantonese. This paper draws on critical discourse analysis to study the realization of commercial, governmental and civic power through a diverse and plurilingual discourse genre. It shows that although governmental authority is still invested in the colonial language of Portuguese, it is not immune from the marketization associated with the language of commercial capital, English. The analysis also indicates that the plurilingualism evoked by governmental authority situates monolingual readers in formal and respectful positions with respect to other languages, commercial ventures seek to earn money by entertaining readers less formally, and civic associations cultivate their readership in flexible ways in accordance with the target sector of the community.

Background
Anemia is a common blood condition that affects populations in both rich and poor countries.  The most prevalent anemia after iron deficiency anemia is the anemia of chronic disease. It is usually observed as a non-specific anemia in patients with infectious, inflammatory and neoplastic diseases, and may cause diagnostic challenges. Routine diagnostic tests are performed in these patients, but recently, new blood markers such as hepcidin antimicrobial peptide are used to evaluate the severity of the disease. 

Objective
To evaluate the association between inflammatory disease and the potential risk for anemia in pediatric age-groups.

Methods and materials
In this study were involved 64 children aged 0 to 18 years old, hospitalized in ‘’Pediatric Service’’, the University Medical Center of Tirana “Mother Teresa”, during May 2018. Patients were diagnosed with diseases associated with the inflammatory process. Complete blood count (CBC) tests and other tests that detect inflammation such as C-Reactive Protein and Erythrocyte Sedimentation Rate (CRP and ESR), were determined in patients with hemoglobin (Hb)  levels < 11.5 g/dl. The CBC parameters are measured using Automated Cell Counter machines, ESR is measured using Westergren method, CRP test is based on the principle of the latex agglutination, and the colorimetric method is used for serum iron measurement. All the cases involved in this study were evaluated other examinations and laboratory tests, which were significant in the determination of the diagnosis.

Results
The average age of patients included in the study was 2.65 years old among which 56.25%  were male and 44.75% were female. 12.5% of patients had blood malignancies, 34.4% had acute bacterial diseases, 18.7% had chronic bacterial diseases, 23.4% had viral infections and 10.9% had autoimmune diseases. Patients with chronic bacterial diseases and viral infections had significantly higher levels of ESR (ESR=29.83, N=0-13mm/h) than others. Levels of CRP were higher in patients with acute bacterial diseases (CRP=52.84, N=3-20mg/dl), and the levels of hemoglobin were lower in patients with autoimmune diseases (Hb=9.14, N=13-16 ±2 mg/dl). This was presented with a high variance in the values of ESR (σ^2 = 286.09) and  CRP ( σ^2= 2002.28). The evaluations revealed a moderate positive correlation between Hb and RBC (R^2=0.15), a mild negative correlation between Hb and ESR, also between Hb and CRP.



Conclusion
The time span and the degree of the inflammation which coexists with the underlying disease, determine the type of anemia which associates them. These results suggest that in this pediatric age-group, the treatment should focus on the underlying disease in order to correct anemia.

Keywords
anemia, inflammation, pediatric age-group, hemoglobin, CRP, ESR, iron metabolism.

The understanding of “Swiss design” as perhaps the purest form of modernism places Switzerland at the epicentre of twentieth century graphic design history. Post modern vehicles of thought as well as challenges to Western-centred design history, have left the success story of Swiss graphic design in tact. This paper examines the work and career of Swiss poster designer Paul Brühwiler, and through this critiques this concept of “Swissness”. It proposes that even where a positive national design stereotype is established, this is detrimental to design historical knowledge.

El presente artículo trata de explicar y delimitar las características y funciones del cartelista en España durante el siglo XX. El contexto publicitario desde el que se aborda el estudio presenta cambios fundamentales que afectan a la concepción del cartelista y generan nuevos perfiles profesionales con denominaciones igualmente novedosas. En el estudio del cartelista se parte de las raíces artísticas de los profesionales de la publicidad y se observan los cambios hacia la especialización de los cartelistas en las técnicas y teorías publicitarias. Desde las Bellas Artes, concretamente las Artes Decorativas, se incorporan los artistas al arte comercial, un arte aplicado entre otras actividades, a la publicidad. Así encontramos referencias a los ilustradores, artistas y dibujantes que se dedican a la denominada publicidad artística, expresión que deja explícito el afán por aunar y separar al mismo tiempo el arte y la publicidad, el arte y la técnica. Para completar el estudio se delimita el concepto de cartelista del de diseñador gráfico, director de arte y creativo para llegar a las postrimerías del uso del vocablo en las últimas décadas del siglo XX. Entrado el siglo XXI las disciplinas diseño y publicidad están perfectamente diferenciadas y estas, a su vez de la pintura y el dibujo artístico.

Background / context: The ALTC WIL Scoping Study identified a need to develop innovative assessment methods for work integrated learning (WIL) that encourage reflection and integration of theory and practice within the constraints that result from the level of engagement of workplace supervisors and the ability of academic supervisors to become involved in the workplace.

Statyczna reklama wizualna to medium, które nie wymaga aktywności ze strony widza, a jednocześnie ma ogromną siłą przekazu. Docieranie z taką reklamą w sposób masowy odbywa się dzisiaj za pośrednictwem bardzo zróżnicowanych metod i nośników umieszczanych na zewnątrz (outdoor) lub wewnątrz (indoor) pomieszczeń środowiska pracy. Ciągle jeszcze środkami bardzo skutecznymi i jednocześnie popularnymi w zakładach pracy są klasyczne plakaty. Oparte na artystycznym wyrażaniu skojarzeń, docierają do pracowników z konkretnym użytkowym przesłaniem, łącząc dwa wiaty – sztuki i rzeczywistości.

Static outdoor advertising does not require any activity from the audience and yet it is an enormously powerful medium. Mass impact of that kind of advertisement is often achieved with rather complex methods and various carriers both outside and inside workspaces (outdoor and indoor advertising, respectively). Posters remain a very efficient and at the same time popular means in companies. Based on
expressing connotations in an artistic way, they reach workers employees with a specific, useful message, and bring together the worlds of art and reality.

Wind energy is the fastest growing alternative source of energy (Global Wind Energy Council Report, 2006). Currently it is crucial to seek for a better and more efficient solution. Thus there is a suggestion to propose vertical axis wind turbines (see Figure 1). There are a few benefits of using vertical axis wind turbines.

Every war is not only the fight of the armies but also a war of the ideologies. One of the forms of the ideological war is propaganda posters. Over forty posters presented and analyzed in this article come from the Polish-Soviet war in 1919-1921. The research work is based on grounded theory procedures adopted for visual data analyses. Particularly useful was a method of coding families worked out by Barney Glaser and modified to the visual data analysis by Krzysztof Konecki. The author reconstructed several basic motifs, formal solutions, and Communications strategies (i.e., continuity and continuation versus avant-garde and revolution, image of the enemy and “one’s own” imagination, strategic conversion) used by artists-ideologists from both sides of the conflict.

This essay presents an examination of posters which depict female cyclists, made during the French Belle Époque of 1880 through to 1914. Utilising a methodology drawn from feminist social histories, this essay attempts to understand the social, cultural and political influences which affected women and their adoption of the bicycle. Delving into issues such as gender roles, maternity, medical discourses and consumerism, this essay has attempted to outline a broad range of influences essential to this topic. I highlight three main pictorial tropes utilised in posters of the age. An analysis of how these pictures may aid our understanding of French women’s oppression and emancipation. Though there is much yet to be studied in this realm of gender and art history, I hope this essay can provide a stable grounding for such a study.

The logo of the brand of rubbing alcohol Alpa, the colour and shape of which the company has preserved until today, was traditionally connected with the name of advertising designer Leo Heilbrunn. The study describes the changes of the label of the rubbing alcohol from 1913, when it was launched onto the market, to the end of the 1930's. It focuses mainly on the cooperation between the company of Josef Veselý and Leo Heilbrunn, it analyses in detail the key motives of the most noticeable campaigns in the second half of the 20's and the turn of the 1920's and 1930's. It also follows the role and form of the reputation in the development of the brand and the advertising designer's life. On the basis of the period reception in the professional press, it outlines the emotional ideological context on which the success of the targeting of the profile of Alpa brand depended.

Poster film adalah salah satu media yang menyediakan informasi paling awal sebuah film. Mulai dari poster coming soon, tanggal rilis serta poster film yang terpajang pada bioskop. Penggunaan poster film untuk pemasarn cukup memiliki peran penting, sehingga dalam pembuatannya juga membutuhkan perhatian khusus misalnya ilustrasi pemeran utama, benda-benda ikonik, serta semiotic warna ataupun tipografi. Artikel ini membahas tentang analisis poster film horror sebagai salah satu genre film yang cukup digemari. Metode yang digunakan adalah pendekatan deskriptif kualitatif dengan beberapa teori, yaitu teori tentang tanda yang dikeluarkan oleh Saussure (1974), dan juga menggunakan teori Verbal dan Aspek Visual yang dikemukakan oleh Dyer (1986) yang digunakan untuk menganalisis tanda-tanda poster verbal dan visual dalam jurnal ini. Artikel ini membahas tanda-tanda verbal yang ditemukan dalam poster yang terdiri dari: judul, produsen film, tanggal dirilisnya film, tempat penayangan. situs internet, dan logo. Adapun tanda-tanda visual yang dianalisis dalam bentuk: gambar, warna, posisi, dan latar belakang dari poster tersebut. Tanda-tanda verbal dan visual didalam jurnal ini menunjukkan jenis film yang dianalisis, yaitu film horror yang menceritakan asal usul hantu yang menjadi tokoh utama film yang dibahas. Movie poster is one of the media that provides the earliest information on a film. Starting from the poster coming soon, the release date and the film posters displayed in theaters. The use of film posters for marketing has quite an important role, so that in its manufacture also requires special attention such as the main character illustrations, iconic objects, and semiotic colors or typography. This article discusses the analysis of horror movie posters as a genre of film that is quite popular. The method used is a qualitative descriptive approach with several theories, namely the theory of signs issued by Saussure (1974), and also uses Verbal theory and Visual Aspects proposed by Dyer (1986) which are used to analyze verbal and visual poster signs in this journal. This article discusses verbal signs found in posters consisting of: title, film producer, date of release of the film, place of screening. internet site, and logo. The visual signs are analyzed in the form: image, color, position, and background of the poster. Verbal and visual signs in this journal indicate the type of film being analyzed, the horror film that tells the origin of the ghost that is the main character of the film being discussed.

The ideal relationship between the child and other family members has been evolving through time. In modern Japan, child-caring has been associated with motherhood at the same time as mothers were relegated to the domestic space and endorsed the role of full-time housewives (shufu). Men’s role as fathers was that of financial provider and became an absent figure.
The low fertility rate of the late twentieth century has contributed to encourage new perceptions of child-rearing involving both parents. Men’s involvement in child-rearing can be separated into two main trends. On one hand, men increasingly spend time with their children, although they tend to focus on leisure and socialization tasks. On the other hand, since the 1990s a new generation of Ikumen or nurturing fathers who fought gender roles, assumed the everyday tasks of feeding, bathing and nursing children, and ask for parental leave.
In this paper I will point at the new relationship between father and child as defined by the government and represented in the promotion advertisements produced during the late 1990s and early 2000s. The visual and contextual analysis of the most widely spread posters enable to point at the main characteristics of the model of fatherhood offered. What kind of relationship is displayed? Which children in terms of age and gender are represented? How to depict child-rearing in a “manly” manner? The government aims through those posters to redefine child-rearing in terms of gender, although I will show the ambiguity of redefining gender roles while keeping a traditional discourse.

Even though there are lots of varieties of graphic design areas today, the posters, which are one of the most effective ways of informing the public about the solutions of the problems among other communication tools, kept up with developing technology and changed not only according to technical facilities but also art movement at that time. Motion posters, which are designed on numerical platforms by animating and are presented with LCD technology, attract people. In last a few years, motion posters which showed up by animating some movie posters done on digital platforms will maybe meet us so as to present some products, create awareness of the consumers and increase sales. Today, the competition of being better and more different for the companies will help the new advertisement to be widespread. The poster making its target group felt its existence there by making use of the principles of specific design, must make itself noticed. There needs an impressive and strong feature which makes them noticed the piece of paper hanging on the wall: Motion.what a mini fragment for changing the attitudes and perceptions of the target audience, visual images and typographic elements of poster in a specific sequence will increase noticability of poster through this message bombardment. The purpose of the study, now only used for experimental animated banner mobilization of movie posters in the coming years in the varieties of the other posters are questioning whether to use. In this context, hatching mode and effect analysis methods are research methods that will be used.

The aim of the study is to investigate whether the activity based posters have an effect of on the ninth class students' academic achievements and the retention levels in their learning. The research was carried out with 60 students at one of the state schools in The Central Anatolia Region of Turkey in 2015-2016 academic year. Study-"Celebrities" unit teaching-took 6 weeks in both experimental group and control group. This study was conducted according to the "pre-test-post-test control group model" which is from quantitative research methods. The unit of "Celebrities" Achievement Test was developed by the researcher. These data collection tools were implemented at the beginning and the end of the study. Academic Achievement Test was re-implemented 21 days later after study in order to determine the retention levels in their learning. At the end of the research, it is detected that implementation of the activity based posters in English classes makes statistically significant difference for the benefit of experimental groups on the level of academic success.

A landmark study of posters as art, design, advertising and an object of collecting in the nineteenth century.
This is a cultural history that situates the poster at the crossroads of art, design, advertising, and collecting. Ruth E. Iskin argues that the avant-garde poster was instrumental in the development of a modern language of art in the 1890s, and in the adaptation of art to an era of mass media. She shows how posters played an important role in the emerging fields of advertising and design. She articulates the strategies that made posters function well in the hectic environment of the urban street and explains why they soon came to be coveted by collectors. This insightful study proposes that the poster played a constitutive role in the modern culture of spectacle.

Prominent Polish graphic artist Roman Cieślewicz has referred to Poland as the “Plakatodrom [The land of posters] … the largest testing ground of the poster in Europe,” positing Poland as a unique place of poster experimentation, design, and display. As components of everyday life, posters are elements of the city’s skin, history of art, visual culture and political discourses. More than mere ephemera and colourful artefact, posters are visual and material indexes for particular moments in time, and as such significant objects of research inquiry into iconosphere of the city and its everyday.

This dissertation seeks to consider the uniqueness of Polish poster within its various sites of display and circulation: in the city, in the museum dedicated to poster art, in filmic imagery, on pages of albums and exhibition catalogues, and on what is considered here a unique international platform for poster distribution, the seminal visual arts and design journal Projekt. Each of these distribution ‘surfaces’ – following the notion of ‘design surface’ proposed by Jacques Rancière – participates differently in the visibility of the poster and its relationships to its sites of display, or as it will be argued, topo-sensitive aspects of poster-art. This interest in the placement of the poster locates much of this research in the city of Warsaw positing this city’s unique role in the dynamism and experimentation Cieślewicz suggests in his notion of plakatodrom.

The presence of posters in the filmic imagery of Andrzej Wajda will guide this study through its historically organised sections. Chapter One: Muzeum Plakatu w Wilanowie will present a discussion of the Muzeum Plakatu w Wilanowie as a seminal site of display and circulation framed by the international posters of Wajda’s War Trilogy films and the Poster Biennale as a significant moment in the history of the poster. Chapter 2: Pokolenie and Surfaces of Resistance is situated  by Wajda’s film Pokolenie [A Generation,1955] and will reference the poster in regard to the graphic tradition of wall writing and the wartime history of the city. Chapter Three : Niewinni czarodzieje & Times of Transition will consider Niewinni czarodzieje [Innocent Sorcerers, 1960] in observing Warsaw during a time of its transformations towards the Modern city following the 1955 Festival of Students and Youth and the political Thaw of 1956. Chapter Four: Człowiek z żelaza & the ImageXtext, oriented around Człowiek z żelaza [Man of Iron, 1981], will frame a discussion of the surfaces of resistance and the poster’s role in political protest. The penultimate chapter Danton & the Scream, will be guided by Danton [1983], nvestigating the surface of the poster itself to explore the presence and amplification of sound within the poster through the poetry of Czesław Miłosz and Zbigniew Herbert alongside the sung poetry of jacek Kaczmarski. The first three chapters function as a loose section oriented around sites of display and the street while the final two chapters consider ‘Sounds of Freedom.’ The final chapter, Powidoki: An Afterimage in Lie of a Conclusion, is loosely informed by Wajda’s  last film, Powidoki [Afterimage, 2016] observing the ‘afterimages’ of the poster, its legacy in the contemporary iconosphere of Warsaw and will consider the ways text and image present events and discourses on the surface of the city.

Although the literature on Stalinist propaganda is enormous, there has been no dedicated study on the marketing of Stalin’s personality cult in posters during the Stalinist period. This research is an attempt to fill this lacuna. From 1929 till 1953, the retouched image of Iosif Stalin became a central symbol in Soviet propaganda across all artistic and cultural genres.  Images of an omniscient Stalin appeared in the media of Socialist Realist painting, statuary, monumental architecture, friezes, banners, and posters. Stalin was lauded in poetry, theatre, film and song; oaths were sworn to him; thanksgiving ceremonies were held to honour him; and millions of Soviet soldiers in the Great Patriotic War ran into battle with his name on their lips. The ‘Stalin’ who was celebrated in propaganda bore but scant resemblance to the man Iosif Vissarionovich Dzhugashvili whose humble origins, criminal past, penchant for violent solutions and unprepossessing appearance made him an unlikely recipient of uncritical charismatic adulation. The Bolsheviks needed a wise, nurturing and authoritative figure to embody their revolutionary vision and to legitimate their hold on power. The persona of ‘Stalin’ arose through a process which involved both the deliberate manufacture of a charismatic leader through propaganda, and the wish-fulfilling projections by an unnerved, de-stabilised and largely uneducated, illiterate and superstitious population of a sage guide through troubled times. This leader would come to embody the sacred and archetypal qualities of the Father of the nation, the great Warrior and military strategist, the wise Teacher and the Saviour of the land. Stalin’s image in propaganda posters became a symbol of Bolshevik values and the personification of a revolutionary new type of society. Transforming a leader into a symbol which embodies an ideological vision is a key tactic in mobilising a population to identify as a cohesive whole, to strive for common goals and to behave in prescribed ways.

la mostra L’altra grafica, tra pubblico e sociale di Gianni Latino e Armando Milani, due protagonisti significativi del panorama italiano della grafica contemporanea.
Attraverso un dialogo per immagini, Armando Milani e Gianni Latino dimostrano che ci può essere una grafica orientata in modo pressoché esclusivo a promuovere il consumo etico delle idee anziché quello più strettamente commerciale di beni o servizi.
Si tratta di quella grafica “altra” che, come spiegava Umberto Eco: «[...] potrebbe essere quella che si oppone alla grafica di consumo, che non invita all’acquisto, che non persuade alla bontà di un prodotto [...]», bensì è rivolta alla dimensione sociale, culturale e civile dell’esistenza.
Una grafica che a volte può rivelarsi fortemente polemica e politicamente schierata, a volte semplicemente emozionale ma sempre e comunque sensibile ai temi del vivere sociale, del consumo responsabile, della convivenza e della condivisione delle esperienze e dei saperi.

Late nineteenth-century French art is among the most often studied topics, yet posters, which were one of the most prominent phenomena in the visual culture of the 1890s, have remained on the margins of art history. This article proposes that by analyzing posters, one gains new insights into modernity. Focusing on Henri de Toulouse-Lautrec (1864 and Jules Chéret (1836Chéret ( -1932, it demonstrates that these artists represented opposing views of modernity and argues that these constituted divergent responses to industrialization, commodification, mass culture, and urban life-one exposed its melancholy, the other countered it with a dreamland of pleasures.

In September 2021, Galerie Kornfeld presented forty works by Marc Chagall (1887-1985). The oldest auction house in the world selling works on paper: engravings, drawings, gouaches, and pastels, put up for sale beautiful artefacts from the collection of the artist's family. 1 The auction was a huge success-all the works sold, with many of them reaching high prices, and, for the first time since 1864, it was recognized as a "white glove sale". 2 Eberhard Kornfeld, who ran the gallery until 1951, contributed not only to the popularization of modern art, but also to the development of the history of engravings and drawings of the 20th century, organizing a lot of exhibitions and publishing a number of monographic catalogues including the oeuvre of

El diseño gráfico es una disciplina que se encarga de elaborar discursos
visuales con la finalidad de emitir una idea concreta. Esto es bastante
complejo, lo cual ha llevado a diversos investigadores del diseño gráfico
a buscar sostén en otras áreas del conocimiento como la semiótica, la
tradición retórica o las ciencias cognitivas. Todas estas disciplinas
abordan un marco teórico aleaborado y muy diverso, aunque tienen un punto en donde se llegan a ligar: la metáfora.

En la semiótica tiene lugar en la semántica al ser el proceso de metaforización un mecanismo mental del ser humano para asignarle significaciones distintas a los objetos, haciéndolos signos.

the poster actually stimulated artists to invent a new and forceful visual language. Since potential viewers usually encountered posters on the streets rather than a dedicated art space, artists had to make formal innovations in design and color that would instantaneously attract the eyes of passersby. 4 All of these factors contributed to Lautrec's aesthetic innovations in postershis great simplification of form, emphasis on surface, flattened masses of color, elimination of shadows and modulation, use of brilliant colors, prominent outlines and lines, bold compositions, and striking points of view. Lautrec invented his modernist language as a hybrid of low culture and fine art: the poster had to be artistic, but also to respond to a new function (advertising), a new site of display (the street), and a new audience (a mobile general public).

Published in: Andrija Maurović, the Known and the Unknown, Galerija Klovićevi dvori, Zagreb 2007.
To comprehend the Andrija Maurović oeuvre before his exceptional comic strips production in comparison with his contemporaries is not simple, because illustration is one of the least covered areas in Croatian art history. But even when we look at this oeuvre in isolation, we see numerous qualities of an illustrator who completely identified with the motif and visually objectified the ethical principles of the protagonists of the illustrations. On the other hand, anyone who wanted to seek out the artistic qualities in these works would be doing Maurović no service, for he was not creating art (of which he was well aware), rather creating mass culture products that were primarily determined by the laws of supply and demand in the mass market.  He was equally creative in different media and techniques: caricatures and cartoons, postcards, trademarks or posters. He managed to be a reliable outsourcer for numerous publishers particularly because of the specific relationship of the three components of drawing skills, good approaches found for very varied tasks and rapidity of performance. But all these qualities would be worthless without consumer satisfaction. Covering Maurović’s before-the-comic-strip work, in all its breadth and multiplicity, we have seen in many different examples individual characteristics that all found their proper place in the comic, creating a synergetic effect and thus coming to full expression in the new medium.

Phillip Dennis Cate curated the exhibition, which traveled to the following venues: the Birmingham Museum and Art Gallery, Birmingham, England (April 8 – June 19, 2006), the Museum of the City of Edinburgh, Edinburgh, Scotland (Summer 2006), and The Jane Voorhees Zimmerli Museum of Art, New Brunswick, New Jersey (Spring 2007).
The catalog also includes essays by Carmen Vendelin and Sara Bujanda Bujanda.

The study of landscape during the past it’s one’s of the most important way for a best economic and social
policy for our future. In Italy traditional economic system is divided into industrial district with high and
specific know how, each of them designed around the typical characteristics of its region. Today crisis has
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changed this system, almost perfect, because italian Governance hasn’t protected and developed districts. So,
nowaday, it’s difficult for us to find best and creative solutions for our economy. However in the past, we
can think especially during the Middle Age, the Italy’s economic system was very different and more differentiated.
All resources available in a specific site were exploited for a lively micro economy also in little and
fringe areas, how show us studies and archaeological evidences. The Sessera Valley (BI) is a tipycal example:
a small fringe area in the border of three different local government districts, Biella, Novara and Vercelli,
far away from cities and main roads, near the mountains, nowaday straitened and depopulated, also if it has
many natural resources available.The study of sources, around the Middle Age, show us that the Bishop of
Vercelli and some of the most important Eastern Piedmont families of high rank had here economic and
political affairs, and, although there isn’t comparison between urban and mountains areas, we can say that all
resources, both low and high lands, were managed with attention and this has produced a micro functional
economic system, able to breed local “activities linked”. This is very important for us, because we can know
more information about interlock among geomorphology, landascape, resources and social, politics and religious
links, for to understand development trends and capacities unexpressed of the whole Country.The last
but not least to know the ecomomics history starting to each single landascape it’s a win win strategy to be
able to catch a great goal for a sustainable future, thanks to a new policy season more aware and finally careful
at our heritage.If archaeological and historical studies will real become tools for politics, economic and social
planning by our Government than we will really to be able to take care our heritage and to design a sustainable
and right future for all people, respecting and valorizing all our important resources.

Lac 2014 Third International Landscape Archaeology Conference 2014 Rome 17-20 settembre 2014
My poster as Indipendent Researcher

ABSTRACT
This paper aims at defining to investigate the cultural backgrounds of the images on the billboards of the Turkish films that has been produced up to now. The reason is that
especially on the design of the films whose themes are traditional the semiological values of the images that are created to fit the script are paralel to the development of Turkish Republic and these billboards functions as historical documentary.
In this study, the socio-cultural change and trends in the historical period are analysed from the point of images that are presented on the billboards and special attention is given on the elements of traditional culture.
The core structure of the study includes the billboards of the films that are produced between 1941-1981. The billboards of the films titled Kahveci Güzeli, Boş Beşik, Halıcı Kız, Yılanların Öcü, Kızılırmak-Karakoyun, Güllü, Hazal ve Yol are analysed by commenting on them.