主持人不能没有人文情怀

广东电视台知名主持人郑述因为一句貌似平常的话,惹来争议连连。网友“股票将”炮轰郑达不懂得“体谅别人”,不该在那样的场合以主持人的身份公开地“发表”自己狭隘的言论。     

图形设计的场意识与书籍装帧

图形在书籍装帧设计中有着重要的地位.没有理想的图形,书籍装帧就显得苍白无力,图形成为书籍装帧设计的生命.而以画面空间作为"场"来捕捉图形,使自由的空间意识展现出来,自由地构成主体,是艺术家们得以展现其才华之所在,这样可以最大限度地发挥设计者的潜能,体现艺术家的个性和创造意识.     

Adobe IIIustrator 7.0绘图及设计工具

AdobeIllustrator软件赋予图形艺术家与爱好者、专业制图师与桌面出版商极强大的能力，使他们在创作包装设计、小册子和广告用的美术原图方面能尽展所长。AdobeIllustrator7．0是Macintosh上最畅销的绘图软件。AdobeIllustrator7．0也有Windows95、WindowsNT版本，并且具有同样的功能。它作为全能的设计工具，并具卓越的文字处理功能，极易于使用。图形艺术家与爱好者、技术制图师与桌面排版师和电脑爱好者都会发现它是创新的设计软体，可以把您的创作推至无限境界。最佳设计工具无论您是桌面出版商、图形艺术家，或是网上设计师，运用…     

陶元庆装帧设计开创书林封面设计之先河

陶元庆是我国著名装帧设计艺术家,自从为译著《苦闷的象征》设计封面后,他在装帧设计领域一发不可收拾,开创了书林封面设计先河。陶元庆的装帧艺术发迹与鲁迅的支持有直接关系,其风格在当时中国文艺界也是独树一帜。     

电视制作与网页设计的艺术性

从古至今,很多艺术家和学者提出了各种关于形式美的规律,很多经得起推敲的作品都是遵循这些规律去创作,以期完成其审美价值的。因此,在设计过程中,     

时尚《Adobe Magazine》设计大奖赛作品欣赏

从爵士音乐到流行作品、从图书版面设计到网上出版、从政治招贴广告到公司年度报告封面设计,艺术家们在广泛的领域中应用Ａｄｏｂｅ图像、图形处理软件来进行创作,将创造性的梦想给予实现。第六届《ＡｄｏｂｅＭａｇａｚｉｎｅ》年度设计大奖赛吸引了众多的参赛者,共有２２００多名设计师参加比赛,参赛作品分为２５个种类。在这里向您介绍一些获奖作品,其中包括获得一等奖、二等奖、三等奖的作品和其他的部分优秀获奖作品,向您展现Ａｄｏｂｅ图像、图形软件为艺术家们所创造的魔幻世界,及其带给艺术家们的一个更高的艺术境界。一等奖…     

三维动画在封装设计中的应用

三维动画在封装设计中的应用北方工业大学计算中心陈世红，李卫朝１引言现在的灯箱、招贴，以及封装设计都越来越好，和谐的构图、美丽的质感给人们留下了美妙记忆，使人们在美的享受中了解了公司的产品，记住了公司的形象。以往的作品大都是艺术家的手绘作品，尽管效果也...     

陈之佛装帧设计的独特艺术性及其风格

陈之佛是近代中国一位才华横溢的装帧艺术家,他将工艺美术理论运用到实际生产中,其装帧艺术融绘画于装饰之中,更多运用了设计及装饰元素,在近代中国装帧艺术发展中有着重要的地位及贡献。     

多媒体设计讲座

１９９９年４月２４日下午２：００,电脑设计师俱乐部举办了成立以来的第三次活动,活动的主题是多媒体设计讲座。我们请到了北京Ｄ６设计工作室的电脑设计师──冉彤、沈悦,他们为大家介绍了目前流行的多媒体制作软件,如：Ａｕｔｈｏｒｗａｒｅ、Ｄｉｒｅｃｔｏｒ、Ｔｏｏｌｂｏｏｋ等,并且让大家欣赏了许多优秀的多媒体作品。前来听讲座的人比预计的多许多,其中绝大多数是Ｄ．Ｄ．Ｃｌｕｂ的会员,但也有一些新朋友,他们是北京广播学院９６级广告学系的同学们,瞧,他们的脸上是不是多少有着艺术家的风采。多媒体作品的设计制作容纳…     

对科技书籍装帧设计中一些问题的认识

科技书籍的装帧设计,作为文化艺术领域中的一枝小花,近几年来取得了较大的进展.耕耘在这片土地上的艺术家们,随着整个社会审美水平的提高,在引进消化国外现代设计思想的同时,悉心钻研,不断探索,创作出了一批艺术感染力强、内涵深刻、具有时代特色的好作品.这些作品虽然风格各异、     

高邮王氏父子与《高邮王氏四种》

清代杰出的音韵学、训诂学、经学大师王念孙、王引之父子世称“高邮王氏父子”。王念孙的著作《广雅疏证》《读书杂志》和王引之的著作《经义述闻》《经传释词》学术界称为《高邮王氏四种》。论文简析了高邮王氏父子的学术成因,在此基础上论述了高邮王氏父子和《高邮王氏四种》仍备受当代和现代学者推崇的观点,王氏父子迄今仍为治学的榜样,而他们的著作堪为当世学术的根柢书。     

The evolution of Lucio Fontana's painting materials

Abstract

The study focuses on the range of pigments and media that the Italian artist Lucio Fontana (1899–1968) employed for selected works dating between 1949 and 1968. Samples were taken from ten groups of works, all on canvas support, as well as from painting equipment that survived in the artist's former two studios. Techniques of analysis used were pyrolysis-gas chromatography–mass spectrometry for media identification, and laser desorption ionization time-of-flight mass spectrometry and Raman microspectroscopy for pigment identification. Fontana's reputation as a daring and experimental artist, best known for his group of slashed paintings called tagli, is seen to correspond with certain unusual material choices he made. The study also points to several links that exist between seemingly unrelated cycles. These links are, among others, based on experiences with in part novel media such as oil, alkyd, polyvinyl acetate, acrylic, acrylic–vinyl, and mixtures of them. With regard to pigments, the selection of samples showed that they were mostly of a synthetic organic nature.     

The materials and techniques used in the paintings of Francis Bacon (1909–1992)

Abstract

Materials from 38 paintings by Francis Bacon (1909–1992), including 21 complete works and 17 partially destroyed canvases are investigated. Observations are made of the artist's technique and details are compiled of the supports used. Samples of paint and priming were taken for analysis using polarized light microscopy, Fourier transform infrared spectroscopy (FTIR), gas chromatography–mass spectrometry (GC–MS), pyrolysis–GC–MS (Py–GC–MS), and scanning electron microscopy coupled with energy dispersive X-ray analysis (SEM–EDX). Analysis of priming layers appears to show that the priming composition correlates well with particular ranges of dates. A fairly limited range of materials are found, with many of the same pigments found in works spanning Bacon's career, though other pigments were introduced at different stages in his career. Oil paints were used consistently for the painting of figures, but household paints were increasingly used in backgrounds from the 1960s onwards. A variety of different synthetic media are found in later works, including household acrylic paints and spray paints. Increased knowledge of Bacon’s materials is expected to be of great value to conservators caring for the work of this highly significant artist, and is already helping in the authentication of works attributed to him.     

Conditions and Survival: Views on the Concentration of Ownership and Vertical Integration in German and Swedish Publishing

This paper compares publishing in two European countries with fixed respective free book prices: Germany and Sweden, when it comes to the phenomenon vertical integration. Concentration of media ownership is a central issue in today’s global publishing industry and large international media groups are consolidating at a fast pace, taking over more and more links in the value chain of books. One of the foremost examples is Amazon—established in Germany and fast expanding in Europe, but not yet present in Sweden. This paper presents a broad overview of the two markets and interviews with several actors in the German and Swedish book trades are analyzed and compared. Amazon’s impact on the respective book markets as well as strategies for independent publishers are discussed. The question whether concentration of media ownership in the book trade affects publishing and distribution of “quality literature” is also raised.     

"图书馆2.0运动"的历史记忆 ——评《图林深处——广州阿华田和他的图书馆学故事》

《图林深处——广州阿华田和他的图书馆学故事》是郑永田博士的博文集。它的出版丰富了图书馆学的研究内容,保留了许多珍贵的历史记录,为图书馆学研习者铺设了通往学术殿堂的阶梯。该书是“图书馆2.0运动”的重要成果,具有鲜明的时代特征和珍贵的学术价值,在中国图书馆学术史上留下了精彩而令人回味的篇章。     

The Ephemeral,the Essential and the Material in the Conservation of Contemporary Art: Decision-Making for the Conservation of a Work of Art Made with Butterfly Wings

This article presents the intervention process carried out on a work of art created by artist Yolanda Gutiérrez Acosta, using a series of ephemeral materials such as butterfly wings and agave thorns. The work, an installation from 2002, is entitled ‘Efímeras’ (‘Ephemera’) and consists of 12 flowers mounted on acetate sheets and attached to the same with vinyl acetate copolymers and acrylic acid esters (Mowilith®). These flowers are installed on the floor in a bed of dried flowers. The conservation of contemporary art can lead to some previously unimaginable problems for restorers. Current works of art are somewhat material in nature, but they also have a conceptual dimension that is essential for their artistic interpretation. The artist’s participation in the decision-making process prior to the restoration was quite useful. The passage of time, its effect on the work, and the need to understand the possibility of the demise and destruction of the work were implicit as of the onset of its creation, such that, according to the artist, we are forced to reflect upon the possibilities of its future state.     

以“艺”抗“疫”——融媒体时代艺术专业媒介素养教学与实践

新型冠状病毒暴发后,很多艺术类高校的学生积极以"艺"抗"疫",用艺术的视角,聚焦当前疫情环境下的民生问题,表现出极高的媒介素养。本文以南京艺术学院为例,探讨融媒体时代艺术专业媒介素养的教学与实践,分别从图片、影像、音乐、社交平台、产品设计以及装置等抗击疫情的艺术作品来分析媒介素养教学的成果。     

How Real is Too Real for the Law? Realism versus Right of Publicity in Video Game Design

Realistic elements in video game design can inspire an appropriation claim, trademark dispute, or similar lawsuits, even when the underlying immaterial property from the real world was licensed. Video games can be First Amendment-protected expression, however, as in other media, there’s tension between the speech rights of creators and the personal rights of subjects. Furthermore, there’s disagreement from one jurisdiction to another regarding how much mimicry loses protection and how many dissimilarities are transformative enough to be lawful. Analysis of case law reveals a balancing act between protecting video games as expressive works and protecting individuals’ right of publicity.     

宋刻本《古今合璧事类备要》藏书印考

宋刻本《古今合璧事类备要》钤有丰富的藏书印,是考察该书递藏源流的重要依据之一,也是南宋以来藏书文化的展现。经对全书藏印进行识别,分类统计藏印共22方,钤印431次,可考证的藏主有四人,分别为曹淇、郑原、汪綖、张元济。从“正统丁巳印”发现汪綖其人及递藏信息,并对曹淇生平进行考证,进而厘清该书的递藏轨迹。通过曹淇与清末藏书家杨继振藏书印的对比,可以彰显曹淇更为开明的藏书理念,在藏书史上理应拥有一席之地位。     

从材料语言角度再谈书籍设计的新思路

考究的书籍印刷材料和精湛的印刷工艺,是构成书籍美感的重要因素。当我们埋怨一本书设计不美时,常常把问题简单地归结到版式的设计上。其实,很多时候设计不精彩不是设计得不好,而是设计者忽视了材料设计与印刷工艺的重要性,以及材料设计意识薄弱造成一些书籍的劣质与平庸。本文从材料语言角度谈书籍设计的新思路。