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Continuing my research on how a design studio works, I went to visit the studio grid, they are in 2, recently graduated in graphic design. Their work is very typographical, an area that interests me a lot. They bring a different view of motion than I have, typographic animation, as they call it, not a character animation, I found it very different and I never thought about that possibility, I was very interested, I would like to try something like that.

They use the "Trelus" platform to organize themselves, it's like a more sophisticated padlet; there, they divide the projects into processes:
1 - subject: understanding the problem
2 - collection: context research
3 - action: the project itself
4 - annex: final gear
5 - support: post project

They are very organized and I believe this is the key to the success they have been having.

http://estudioarco.com.br/

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Classic Lightroom - offline storage

Lightroom - online storage

Photoshop and Lightroom difference:

Lightroom are for organization

We don’t have layers

Notes:

Create a new catalog for each session

Raw files are not compressed, JPEG are

When you use a raw file you do not lose quality when printing

Backslash to see the difference

HSL to adjust the colors

Select copy

F for full screen

B for quick collection

X for rejected ones

U for not picked

D for develop the colour etc

Export to hard drive 》 Choose folder later 》 File Settings 》 Quality: 100 》 Size: 300 ppi

The triangles has to be both not highlighted

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I went to this Estúdio to see how a micro agency works. They are in 2 but they always call people with another skills when is needed. They have a lot of printed media stuff and work a lot with typography instead of illustration, I think it relates a lot to my job, they gave us some advices:
- you don't need to know everything, you can always do collabs
- create a relationship with other artists/designers
- continue to visit other studios
- take every opportunity
- jobs are not forever, so try to get the best of it even if you do not like it

https://estudiograde.com.br/

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Simões was born in Catanduva in 1980, and moved to São Paulo in 2002, after attending Architecture school. He attended Politecnico di Milano in Italy in 2001. His work has been exhibited in Brazil, Germany, Spain, England, United States, Venezuela, Norway, France, Russia and Argentina.

Lucas Simões' work is highly influenced by his architectural and design background. Over the years Simões has experimented working with a wide range of materials: maps, books, photographs, concrete, silicon, wax and paper.

* The artist processes photos in different ways: burning, cutting, layering, reshaping, diluting or distorting them.

https://lucassimoes.com.br

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Monique showed us this artist and I believe he has a comic touch that i'm using in this job.
Craig Frazier has been an illustrating designer since 1978. His work is recognized internationally for its wit, optimism and simplicity.

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Worker Series #1  Craig Frazier - Illustrator and Storyteller

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Noted illustrator Craig Frazier discusses his approach to the art of storytelling.  His work can be seen at http://www.craigfrazier.com       Watch in HD full screen for best viewing.

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The basic concept of photography has been around since about the 5th-century B.C.E. It wasn't until an Iraqi scientist developed something called the camera obscura in the 11th-century that the art was born.

Even then, the camera did not actually record images, it simply projected them onto another surface. The images were also upside down though they could be traced to create accurate drawings of real objects such as buildings.

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Learn to Draw by Putting Things into Perspective

We've probably all heard (or even uttered) the phrase, "That really puts things into perspective." Perspective is all about relativity; when you pull back and look at the larger picture and take a different view, maybe things aren't so bad, or maybe there's a solution where it seemed like there wasn't before.

In the art world, perspective is still about your point of view, and the relationships of objects to one another. Only this time, it's more spatial. When you learn to draw, you learn the importance of perspective. It's all about how you look at the world, and that's exactly what Patrick Connors teaches in his video, The Artist's Guide to Perspective.

In Guide to Perspective Part 1, Connors shares basic perspective lessons and shows how you can learn to draw by seeing objects in a different way. In Part 2, Connors expands on those drawing lessons, demonstrating how to draw one- and two-point perspective; then, he applies those drawing techniques to complete a still life, step-by-step.

Below to learn some great instruction about perspective from another one of our favorite instructors, Thomas Schaller and apply what you learn as you continue on with Patrick as your guide.

Why Perspective and Perception Go Hand-in-Hand

Although the fundamentals of perspective drawing seem to be rather straight to the point, the possibilities of how you can apply perspective in your art are vast. In fact, perspective is nearly synonymous with perception.

What I mean by this is you can use the principles of this technique to create your own perception of the world around you through your art. You have the power of illusion, the ability to make the viewer see what you want them to see, literally at your fingertips. You can alter how your art is perceived-all by just conquering the basics of perspective drawing. How empowering is that?

If you are thinking, "OK, that all sounds great, but how can I learn how to draw in perspective?" Well, to start, let's go over a few key terms you should know before delving into perspective drawing pulled from the book, Perspective for The Absolute Beginner, by Mark and Mary Willenbrink.

Linear Perspective Terms

Visual depth is expressed through linear and atmospheric perspective, as well as color use. With linear perspective, depth is achieved through lines and the size and placement of forms. And though compositions can vary in complexity, the basic terms and definitions covered in this section are inherent to linear perspective drawings.

The horizon is the line for which the sky meets the land or water below. The height of the horizon will affect the placement of the vanishing point(s) as well as the scene's eye level.

The vanishing point is the place where parallel lines appear to come together in the distance. In the picture, below, you can see how the parallel lines of the road recede and visually merge to create a single vanishing point on the horizon. A scene can have a limitless number of vanishing points.

The ground plane is the horizontal surface below the horizon. It could be land or water. In the image below, the ground plane is level. If it were sloped or hilly, the vanishing point-created by the path's parallel lines-may not rest on the horizon and may appear as if it's on an inclined plane.

The orthogonal lines are lines which are directed to a vanishing point; the parallel lines of railroad tracks, for example. The word "orthogonal" actually means right angle. It refers to right angles formed by lines such as the corner of a cube shown in perspective.

The vantage point, not to be confused with the vanishing point, is the place from which a scene is viewed. The vantage point is affected by the placement of the horizon and the vanishing points.

One-Point Perspective. Linear perspective with just one vanishing point is one-point perspective. The vanishing point will typically appear in the center part of the scene.

Two-Point Perspective. Linear perspective that uses two vanishing points is called two-point perspective. Scenes in two-point perspective typically have the vanishing points placed at the far left and far right.

Multi-Point Perspective. Linear perspective doesn't have to be limited to one or two vanishing points. A scene could have multiple vanishing points depending on the complexity of the subject. For example, three-point perspective is similar to two-point perspective; it has left and right vanishing points on the horizon. Additionally, there is a third vanishing point either below or above the horizon.

With two-point perspective, these vertical lines remain straight up and down perpendicular to the ground plane. With three-point perspective, the vantage point either looks down or up at the subject. Instead of vertical lines, it has a third set of orthogonal lines that converge at a third vanishing point.

Atmospheric Perspective

Atmospheric perspective, also called aerial perspective, conveys depth through variations of values (lights and darks), colors and clarity of elements. Foreground elements in a composition have greater value contrasts, more intense colors and greater definition of details. With distance, the values and colors become neutral, the details are less defined and the elements take on a dull blue-gray appearance.

Atmospheric perspective occurs because particles in the air, such as water vapor and smog, affect what is seen. Forms viewed from a distance are not as defined and have less contrast because there are more particles in the atmosphere between the forms and the viewer. Likewise, the wavelengths of color are affected by distance. Blues bounce around, whereas the longer color wavelengths are not affected by particles in the same way. The result is that the blues remain more visible than the other colors in the spectrum.

The values are the lights and darks of a composition. Intrinsic to atmospheric perspective, values can influence the impression of depth in a scene. Highly contrasting values tend to appear forward of values with little contrast.

The lighting of a scene affects shadows and values of forms. It can also affect how those forms are perceived.

When drawing, depth can be expressed through both linear and atmospheric perspective as well as through the use of color. Combining all three will produce optimal results.

Create an Internal Box

Now that the basics have been covered, here's a fun step-by-step demonstration on perspective drawing, which plays into the power of illusion. This tutorial involves sketching squares with lines that recede to a single vanishing point. The depth in the finished drawing is implied through linear perspective and the use of values.

Materials needed to complete this demonstration:

Paper: 8" x 8" medium texture drawing paper; 8" x 8" medium-texture sketch paper

Pencils: 2B and 4B

Kneaded eraser

Lightbox or transfer paper

Ruler

Triangle

T-square

Step 1: Sketch the Squares

On a piece of sketch paper, use a 2B pencil to form a large square that is 8″× 8″ (20cm × 20cm). Sketch smaller squares inside the large square using a ruler to mark off the lines. The measurements should be the same from both top to bottom and left to right: ½", 2″, ½", 2″, ½", 2″ (1.3cm, 5cm, 1.3cm, 5cm, 1.3cm, 5cm). Draw the lines using a T-square and triangle to ensure they are straight and accurate.

Step 2: Add the Vanishing Point and Orthogonal Lines

Place a dot at the center of the paper for the vanishing point. Begin adding orthogonal lines from the corners of the squares to the vanishing point. Avoid sketching the lines over the forward surface that is to remain white.

Step 3: Add More Orthogonal Lines

Continue adding lines that converge at the vanishing point.

Step 4: Trace or Transfer the Image

Use a 2B pencil to lightly trace or transfer the structural sketch onto a sheet of 8" x 8" (20cm x 20cm) drawing paper. Leave out any unwanted lines.

Step 5: Add the Light Values

Add the lighter values with a 2B pencil. Make the values darker as the internal forms recede.

Step 6: Add the Middle Values

Add the middle values. Continue to darken the tunnel-like forms as they recede into the distance.

Step 7: Add the Dark Values

Add more darks and details with 2B and 4B pencils. Lighten any areas with a kneaded eraser, if needed.

Don't forget to sign your work!

Because your artwork is a unique expression of yourself, sign and date each drawing. This will give you a sense of accomplishment and also help you to track the progression of your artistic skills.

***
Article contributions by Mark Willenbrink and Mary Willenbrink, Vanessa Wieland and Maria Woodie
Want more free drawing lessons? Check this out!

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The Beginning Artist's Guide to Perspective Drawing

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We've probably all heard (or even uttered) the phrase, "That really puts things into perspective." Perspective is all about relativity; when you pull back and look at the larger picture and take a different view, maybe things aren't so bad, or maybe there's a solution where it seemed like there wasn't before.

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[camera settings]

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David Hockney discusses his theory that artists were secretly using optical devices such as a camera obscura to create their masterpieces.

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BBC David Hockneys Secret Knowledge 1of2 DivX MP3 MVGForum

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* originally made in China by Ding Huan in 180 AD
* the modern one was invented in 1834 by William Georger Horner
* saw this at the Catavento museum
* principles of animation
* produce the illusion of motion by displaying a sequence of drawings
* it has an animation reel, strobe effect, Zoetrope wall and a base

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Cartoon Network Bumpers - Magical Zoetrope

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ON KAWARA - today series
ANN HAMILTON
ANNETE MESSAGER
SONG DONG
DIETER ROTH
NICHOLAS NIXON
JIM SHAW
MARTIN PARR - boring postcards
PAULO BRUSKY
SIMONE MORAES

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Ingest Settings - to import media from a device
Proxy: copy of the media in low quality to make the edition easier

Basic commands
L play
J reverse
K pause
L x2 = more speed
~ = full screen

Subclipes - parts of a master clip
* Create a sequence - storyboard
* source active - menu clip - make subclip
* trim edit
* Source/program - File - new - create

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Constructivism was an artistic and architectural philosophy that originated in Russia beginning in 1913 by Vladimir Tatlin. This was a rejection of the idea of autonomous art. He wanted 'to construct' art. The movement was in favour of art as a practice for social purposes. Constructivism had a great effect on modern art movements of the 20th century, influencing major trends such as the Bauhaus and De Stijl movements. Its influence was widespread, with major effects upon architecture, sculpture, graphic design, industrial design, theatre, film, dance, fashion and to some extent music.

To watch: A grande utopia (premiere induction - video transitions)

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The praxinoscope was invented in 1877 by Charles Reynaud who was the first  to overcome the picture distortion caused by viewing through moving slots, it quickly replaced the zoetrope’s popularity.

Praxinoscope has mirrors in the middle with frames at the side that’s been placed inside a shallow outer cylinder, to see the movement of the animation you have to spin it and look at the mirrors. The number of mirrors are actually equal to the number of pictures so the images of pictures are viewed in the mirrors.
The reflected pictures gives an illusion of moving pictures, when the outer cylinder rotates.
This is how the mirror is placed.

Differences between zoetrope and praxinoscope
The only thing that is mainly different between them is that the zoetrope uses slits and the praxinoscope uses mirrors, so these are using different types of methods to create a spinning animation.

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On January 4, 1966, On Kawara began his Today series. He worked on the series for nearly five decades. A Date Painting is a monochromatic canvas of red, blue, or gray with the date on which it was made inscribed in white. Date Paintings range in size from 8 x 10 inches to 61 x 89 inches. The date is composed in the language and convention of the place where Kawara made the painting. The paintings were produced meticulously over the course of many hours according to a series of steps that never varied. If a painting was not finished by midnight, he destroyed it.

Kawara’s choice of dates appears to follow no overall principle. Some dates may have been personally or historically significant. Above all, however, the Today series addresses each day as its own entity within the larger context of the regularized passage of time.

Source: https://goo.gl/ocjmYM

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- The neutral background gave every person (public or unknown) a significant position; He captured the senses of people, not just the image (things a museum guider told me).

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* Tip i had during the crit
REFERENCE FOR STUDYING: https://goo.gl/bdZMBt

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- Magic lantern shows were the combination of projected images, live narration, and live music that the movies came from.
- Terry Borton, AMLT’s showman, says that their magic-lantern shows appeal to modern audiences because they are in fact “cinema before film.”
- The magic-lantern (the first projector) was invented in the 1650s, and soon became a showman's instrument. By the end of the 17th century, wandering lanternists were putting on small-scale shows in inns and castles, using a lantern lit with a feeble candle. Often these shows hence the name of "magic lantern."

Sources: https://goo.gl/joXX3j
https://goo.gl/xUt4ge

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- When and where shadow puppetry was first introduced is a question on which specialists disagree, particularly in regard to [India] and [Indonesia] where shadow theatre has cultural and religious traits. Leather puppets, exquisitely decorated, are used in a shadow theatre which has become known around the world and is represented in many museums.
- The process of making and manipulating requires negative thinking. In designing puppets the cut out part is the most important. What the viewer sees as the white face or the highlighted pattern of clothing is the part of the figure that is missing.
- Stories for the traditional shadow theatre are diverse, but it is true that the shadow theatre is a medium that is conducive to the extraordinary. Thus we often find narratives where the divine, the demonic, and the animal meet.

Source: https://goo.gl/jZhKgR

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- David Shrigley (born 17 September 1968) is a British visual artist.
- "I thought my degree show was brilliant, but the people who were marking it didn't. I got a 2:2. They didn't appreciate my genius.[…] I didn't sell anything at the show – it was 1991, before the YBAs. There wasn't a precedent for people selling work that wasn't figurative painting"
- His drawings have a kind of throwaway beauty featuring monster children, idiots, aliens and bad parents and are full of twisted lists and exchanges.

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David Shrigley is a British visual artist. This is his web site with his stuff on it.

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Serif: A serif is a graphic design component of text characters that dates back to early Roman times. It is described as a short line or appendage joined to individual letters in text.
x-height: the distance between the baseline of a line of type and tops of the main body of lower case letters
Sans Serif: The term sans serif in IT is used for different types of text fonts and layouts. It refers to letters and characters that lack a developed set of accent lines at the ends of the broader pen strokes that create the character’s shape.
Ligature: Two or more letters combined into one character make a ligature. In typography some ligatures represent specific sounds or words such as the AE or æ diphthong ligature
Cap Height: The height of a capital letter measured from the baseline.
Bowl: The fully closed, rounded part of a letter.
Kerning: Kerning refers to the use of white space in text, where letters may be able to overlap each other, both to save space and to look more natural on the page.
Ascender: the upward vertical stem on some lowercase letters, such as h and b, that extends above the x-height is the ascender
Picas: A pica is a hair less than 1/6 inch, and contains 12 points. Picas are typically used to represent fixed horizontal measurements, most often column width. They are commonly used when designing newspapers, magazines, newsletters, and ads. Picas are designated with the letter p, such as 16p.
Leading: the distance between two baselines of lines of type
Points: Points are the measurement most commonly used in print to indicate the size of type.
Em dash: The em dash is perhaps the most versatile punctuation mark. Depending on the context, the em dash can take the place of commas, parentheses, or colons—in each case to slightly different effect.

Sources:
https://goo.gl/eXjczL
https://goo.gl/kFpSTS
https://goo.gl/pksBH2
https://goo.gl/g7fF5a
https://goo.gl/fHC4Jm

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Between the artists they gave us i choosed her because i think it's most related to my work, i have a passion for lettering (although i've never did it in a professional way), and also, i think it's important to have more space for woman in the art industry.

She is an award-winning illustrator and graphic designer who works with type, clients include Tiffany, Target, American Express, Adobe and a big list of big names.
Hische counts Matthew Carter, Marian Bantjes, Chris Ware, Doyald Young, Ed Benguiat, and Alex Trochut as her influences.
She published "In Progress: See Inside a Lettering Artist's Sketchbook and Process, from Pencil to Vector" in September 2015, which gives insight to her creative process and work she has completed as a hand lettering artist.
Jessica is very known by her project "Daily Drop Cap" (http://www.dailydropcap.com) where she posts since September of 2009, an illustrative initial cap daily and the Should I Work for Free flowchart (http://shouldiworkforfree.com/).
Originally from northeastern Pennsylvania, Hische had a childhood penchant for drawing architectural blueprints of her house and crafting cartographies of the family dog’s travels throughout the day. She switched high schools in her junior year to attend a school that offered art classes, and went on to major in design at Tyler School of Art in Philadelphia. Hische says she calls herself a designer-slash-illustrator” because “if you have a really strong graphic design background, you have so much more freedom as an illustrator.”

Sources:
https://goo.gl/WxQzsx
https://goo.gl/Snr3K1
https://goo.gl/ZpEHLr

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Jessica Hische Shares her Original Student Portfolio & Dealing with a Famous Filmmaker at 4am

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- typography as art
- visit i had on 15/09 during "circuito da arte"

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- "Photography into Sculpture" inspired my 2D to 3D project.
- Was in MoMa

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http://womenofgraphicdesign.org/

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MONIQUE WORKSHOP TIPS
- use white glue
- paper on the thicker surface
- press
- 90º
- make divisions for rounded things
- stripes of paper

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Martin Creed (born 1968) is a British artist and musician. I've started to know him after Cezar's Lecture.
Creed's work often makes use of whatever medium seems suitable. Painting, films, installations and live-action sculptures are all characteristic of his work. Since 1987 he has numbered each of his works, and most of his titles are descriptive: for example Work No. 79: some Blu-tack kneaded, rolled into a ball and depressed against a wall (1993) and Work No. 88, a sheet of A4 paper crumpled into a ball(1994). Creed's work Work No. 200: Half the air in a given space (1998) is a room which has half of its cubic space filled with balloons.

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The official and the unofficial Martin Creed website.

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I went to see his exhibition at IMS paulista called "Millôr: Obra Gráfica". He is a brazilian cartunist that became famous by using humor in his comics to newspapers and magazines.
In his works he used to rely on expedients such as irony and satire to criticize the power and the dominant forces, being consequently confronted by censorship. Owner of a style considered singular, was seen as a pioneering figure in the Brazilian cultural panorama.

Used humor to make protest.

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the paint on the wall

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O Significados dos Símbolos na Cultura LGBT | LGBT+ 🌈 Amino

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Bandeira LGBT A Bandeira do Arco-Íris talvez seja o símbolo mais conhecido da comunidade LGBT.

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- Museu Nacional went on fire
- Museu da lingua portuguesa went on fire
- What will burn next?

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São 200 anos de história que se foram em algumas horas. O incêndio do Museu Nacional, no Rio, reflete bem a situação do País, que vai se acumulando há décadas. São poucos os investimentos na área de cultura e, ao analisar o que se estava gastando em manutenção, se tem uma clara ideia dos riscos a que estava exposto.

Existem diferenças sensíveis entre o que ocorreu ontem e o que ocorreu Museu da Língua Portuguesa, em 2015. No Museu da Língua Portuguesa, não se perdeu acervo, se tratava de patrimônio imaterial digitalizado e preservado, a perda foi da vida humana, do bombeiro morto no combate ao incêndio, e do patrimônio histórico. Já o incêndio do Museu Nacional é um problema gravíssimo, pela perda de um dos maiores acervos do País, constituídos ao longo de 200 anos.

O que ocorreu traz uma questão de políticas públicas. A gente vê uma proliferação de novos equipamentos, de museus que são verdadeiros shows, com tecnologias que demandam muitos recursos, que o poder público e a iniciativa privada poderiam estar direcionando aos museus que já existem.

Precisamos refletir: será que é o momento de o País continuar apostando em novidade, em novos equipamentos, ou dar um basta em tudo isso e olharmos para o que já temos? De pensar nos riscos expostos, de como poderíamos cuidar melhor deles. Isso não só nos museus, mas em todas as áreas, como é o caso do Teatro Brasileiro de Comédia (TBC), que é do governo federal e está fechado há anos.

No Brasil inteiro houve, nos últimos anos, o surgimento de novos equipamentos. No caso do Rio, isso fica emblemático porque foi um investimento enorme nos últimos, como, por exemplo, no Museu do Amanhã. Mas, ao mesmo tempo, se esqueceu do Museu Nacional. A gente sabe que muitos desses equipamentos culturais ou quase a totalidade deles são feitos através de incentivo, de renúncia fiscal, que nada mais é que recurso público.

Poderes públicos, nas três esferas (federal, estadual e municipal) precisam olhar para seus equipamentos e dar um norte para a iniciativa privada sobre onde interessa que o recurso seja investido. A iniciativa privada tem investido muito em cultura através da renúncia fiscal, em equipamentos muito interessantes e que dão maior visibilidade. Não seria um momento de dar uma parada e repensar esse conjunto de políticas públicas e para onde levar esse recurso?"

É importante haver um diálogo constante entre as esferas de poder ao se pensar nos investimentos de cultura. O Museu Nacional está ligado à Universidade Federal do Rio de Janeiro, mas poderia e deveria contar com recursos da Prefeitura e do Estado. Não podemos mais pensar isoladamente. Enquanto uma esfera de poder não tem recursos, outra investe milhões em novas ações.

* diretor técnico do Museu da Língua Portuguesa entre 2006 e 2016

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ANÁLISE: Museu Nacional é retrato da falta de investimento em acervos históricos - Brasil - Estadão

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São 200 anos de história que se foram em algumas horas . O incêndio do Museu Nacional , no Rio , reflete bem a situação do País, que vai se acumulando há décadas. São poucos os investimentos na área de cultura e, ao analisar o que se estava gastando em manutenção, se tem uma clara ideia dos riscos a que estava exposto.

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Nowadays, the touching has been forgotten and this project tends to rescue this.

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Metropolitan Museum of Art: acessibility

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Metropolitan Museum of Art: acessibility

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Os programas de acesso de um dos maiores e mais importantes museus do mundo - o The Metropolitan Museum of Art, de Nova Iorque - são concebidos para ir além da acessibilidade e garantir, de fato, a inclusão de seus visitantes com deficiência. As atuais leis norte-americanas exigem que as organizações públicas ofereçam condições adequadas para que pessoas com deficiência sejam capazes de trabalhar, receber educação e participar da vida cultural de suas comunidades. Por isso, é prática comum em instituições de arte oferecer recursos como dispositivos de escuta assistida, intérpretes de língua de sinais e banheiros acessíveis. No entanto, esses serviços muitas vezes não fazem parte de um esforço integrado da entidade em estabelecer padrões de acessibilidade em todos os níveis organizacionais. Frequentemente, falta o entendimento de que a inclusão exige profunda reflexão e planejamento minucioso.

Desde a década de 1990, o Desenho Universal tem servido como referência para o Metropolitan. Adaptamos os princípios da concepção ao contexto de um museu, com o objetivo de "desenvolver produtos e ambientes a serem utilizados por todas pessoas, na máxima extensão possível, sem a necessidade de adaptação ou projeto especializado para pessoas com deficiência ". A seguir, destaco brevemente como esse trabalho foi realizado.

Diálogo com o público e representatividade

Quando digo às pessoas o que faço, frequentemente ouço: "Oh, é um bom trabalho". Essa frase muitas vezes indica, implicitamente, uma perspectiva de caridade; e faz parte do desenvolvimento de programas para visitantes com deficiência desafiar suposições e expectativas que nós, como indivíduos e como sociedade, internalizamos ao longo dos séculos.

Quando ouço pessoas usando o termo "diferentemente-capazes" para se referir a pessoas com deficiência, eu estremeço mais ainda do que quando usam "incapazes". Ao menos, com esta última palavra, posso explicar brevemente que seu uso não é politicamente correto. Já com "diferentemente capazes", eu preciso esclarecer o que é um eufemismo e ressaltar que o termo não empodera pessoas com deficiência, mas, ao contrário, as deprecia. Como pessoa cega, a expressão, para mim, insinua que posso descobrir meios para compensar o fato de que não consigo ver. Ela está me forçando a fazer tudo ficar bem: eu não posso enxergar, mas posso fazer outra coisa. Implicitamente, essa outra coisa deve ser extraordinária.

Pessoas com deficiência são o único grupo minoritário do qual qualquer um de nós pode passar a fazer parte a qualquer momento da vida. Negar a experiência da deficiência é, em última instância, negar as complexidades do ser humano. É mais uma vez colocar o ônus sobre a pessoa ao invés de reconhecer que a deficiência é "um fenômeno complexo, que reflete a interação entre as características do corpo e as características da sociedade em que ele ou ela vive. [E que] superar as dificuldades enfrentadas por pessoas com deficiência requer intervenções para eliminar as barreiras ambientais e sociais".

Como tudo isso pode ser relevante para o Metropolitan Museum of Art? O desenvolvimento de programas para pessoas com deficiência demanda que os educadores de museus prestem atenção às complexidades de ser humano e de colaborar com seu público. Não se trata de servir pessoas, mas de estar em diálogo com os nossos visitantes. Como disse Paulo Freire: "Não podemos, a não ser ingenuamente, esperar resultados positivos de um programa, seja educativo num sentido mais técnico ou de ação política, se, desrespeitando a particular visão do mundo que tenha ou esteja tendo o povo, se constitui numa espécie de 'invasão cultural', ainda que feita com a melhor das intenções".

Nesse esforço, o Metropolitan contrata diversos funcionários e educadores com deficiência. Todos os projetos para a comunidade surda são ministrados por surdos. Toda vez que realizamos pesquisas formais ou informais, os participantes nos dizem como é importante para eles participar de ações ministradas por um falante nativo. É tanto sobre como fazer o museu representar mais os seus visitantes, quanto sobre como desafiar expectativas. Um dos educadores com deficiência auditiva, por exemplo, atua regularmente como mediador no "Conversas na galeria" - atividade interativa com o objetivo de envolver o visitante diretamente com obras de arte por meio de conversações lideradas por curadores, educadores e especialistas convidados. Mais recentemente, dois artistas, um cego e outro com visão parcial, foram contratados como para atuar nos programas de acesso, nas "Conversas na galeria" e nas aulas de desenho para todos os visitantes.

Também temos parcerias com organizações e colegas em toda Nova Iorque para pensar como o museu pode ser um lugar mais acolhedor, confortável e relevante. Uma das relações mais longas do Metropolitan é com a escola de música Filomen M. D' Agostino Greenberg, da Lighthouse Guild - organização dedicada à reabilitação de pessoas com deficiência visual e à defesa dos direitos dos cegos. Nos últimos 20 anos, temos sediado os concertos da entidade, nos quais cantores e músicos cegos ou com deficiência visual executam canções inspiradas nas coleções do museu. Essas conexões são mutuamente benéficas.

Estratégias multissensoriais do Metropolitan

O compromisso do Metropolitan para tornar suas exposições acessíveis é baseado na crença de que "todos têm o direito de participar plenamente da vida cultural de sua comunidade ". Pessoas com e sem deficiência frequentam museus em busca de experiências educacionais significativas com a arte. Como observado por um participante do estudo "Speaking out on Art and Museums", realizado junto a visitantes de museus cegos ou com baixa visão em 2011: "Na maioria das vezes eu vou sozinho, ou mesmo se eu vou com outra pessoa eu tendo a circular sozinho, porque dessa forma eu posso realmente focar na arte". Outros vêm ou desejam se encontrar com amigos: "Para mim é geralmente socializar e conversar com colegas sobre a exposição e o artista", disse outro entrevistado.

As ações do Metropolitan são planejadas de modo a oferecer flexibilidade para os visitantes com deficiência. Como as falas acima nos mostram, diferentes públicos têm diferentes preferências. Por exemplo, um visitante que é cego ou que tem deficiência visual pode participar de um programa agendado na galeria, de uma aula de desenho ou ainda pode solicitar um tour descritivo individual em uma exposição ou coleção específica. Nós também nos esforçamos para fornecer acesso a informações e obras de arte em formatos alternativos; material impresso com letra ampliada fica disponível na entrada das exposições ou os visitantes podem pegar um audioguia.

Os visitantes com deficiência visual e cegos podem experenciar a coleção através de tours de toque, audiodescrição ou sessões de manipulação. Todos nossos projetos incentivam o uso dos sentidos para acessar e fazer conexões com obras de arte. Embora as estratégias multissensoriais têm sido muito utilizadas em museus de ciência, apenas recentemente as instituições de arte passaram a explorar seu potencial e a redefinir suas oportunidades de aprendizagem para todos os visitantes.

O Metropolitan Museum of Art de Nova Iorque está constantemente aperfeiçoando seus programas, tendo em vista as constantes mudanças de demografia, de legislação, de cultura e de tecnologia. Os programas de acesso do museu são apenas um aspecto de um trabalho que nos faz pensar na inclusão de dentro para fora.
Marie Clapot trabalhou como coordenadora de acessibilidade no Museu de Arte da Universidade de Indiana, implementando um programa para pessoas com perda de visão. Atualmente, é educadora no Metropolitan Museum of Art de Nova Iorque. É mestre em Educação Artística pela Universidade de Indiana e em Desenvolvimento de Patrimônio pela Université de Bretagne Occidentale.
©Instituto Rodrigo Mendes. Licença Creative Commons BY-NC-ND 2.5. A cópia, distribuição e transmissão dessa obra são livres, sob as seguintes condições: Você deve creditar a obra como de autoria de Marie Clapot e licenciada pelo Instituto Rodrigo Mendes e DIVERSA.

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Acessibilidade e arte-educação: estratégias multissensoriais do Metropolitan Museum of Art

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Os programas de acesso de um dos maiores e mais importantes museus do mundo - o The Metropolitan Museum of Art, de Nova Iorque - são concebidos para ir além da acessibilidade e garantir, de fato, a inclusão de seus visitantes com deficiência.

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A cultura livre é uma visão da cultura baseada na liberdade de distribuir e modificar trabalhos e obras criativas livremente. Opõe-se ao conceito que nomeia “cultura da permissão” e à ideia de propriedade. Portanto, envolve a produção e a defesa de diversas formas de conteúdo livre.A cultura livre é uma visão da cultura baseada na liberdade de distribuir e modificar trabalhos e obras criativas livremente. Opõe-se ao conceito que nomeia “cultura da permissão” e à ideia de propriedade.

LINKS
https://bit.ly/2O0sNGt
https://bit.ly/2zPgtAf
https://bit.ly/2IyO58g

Its different, for example, from cultura de graca, like, going to free museums, parks, free stuff. The Cultura livre is about being free to deliver content in many ways that people can modify.

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PORTFOLIO PREPARATION UAL: https://bit.ly/2ziDGtM

EXAMPLES OF PORTFOLIO FOR GRAPHIC DESIGN:
https://bit.ly/2DS0u7C

O que colocar em um portfólio de design gráfico?
https://bit.ly/2AvcQia

- Presenting a project that you failed in is important. Be honest about the flaw in that project. Be frank about how successful the project was and how it failed. Talk about what could be better. Show that you have tried and learned from the mistakes. The important thing is to show real world work in your portfolio, even if you have problems.
https://bit.ly/2AxRuAz

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A book that shows some posters from the period of the dictatorship (64) we had in Brazil, the content looks so actual and I'm scared with how this can be repeated because people don't get basic history.

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Today (09/10) we went to visit Casa Plana on Fradique Coutinho, its a space full of independ publication, specially zines, it's good to see zines in real spaces to sell. I found some different samples and the ones that most caught my attention were with different material and texture, i really tend to explore this way of publication. I bought two publications that i found different, one about the art market and another with photos and using vegetal paper.

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The Torture Never Again Group of Rio de Janeiro (GTNM / RJ), founded in April 1985, became a reference in the national and international scene, for its struggle for the memory of the period of the civil-military dictatorship, against torture and in defense human rights.

SITE:
http://www.torturanuncamais-rj.org.br/

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SEMELHANÇAS COM O BRASIL ATUAL

https://bit.ly/2yyuPTE

https://bit.ly/2QHw8ah

iMPRENSA DA ÉPOCA - INSPIRAÇÃO JORNAL

https://bit.ly/2QyImSD

https://bit.ly/2pNz3TG

MITOS DA DITADURA
https://abr.ai/2IfM17B

CRIANÇAS QUE SOFRERAM COM A DITADURA
https://bit.ly/2QtfhYQ

RESUMO
https://bit.ly/2ysTjh5
https://bit.ly/2DNmth7

SÓ MATOU VAGABUNDO
https://bit.ly/2Ikc4qj

AS VITIMAS DA DITADURA
https://bit.ly/2zAkfeg

CENSURA
https://bit.ly/2pNXfVX

ATUAL
https://bit.ly/2JPq7pt

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PART OF THE RISK ASSESMENT

Given credit to the copyright owner

Refrained from monetizing the infringing content

Stated that “no copyright infringement is intended”

http://bit.do/eyrAs

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http://www.arquivoestado.sp.gov.br/
https://www.nucleomemoria.com.br
http://sian.an.gov.br/
https://br.pinterest.com/arquivonacional/
http://memorialdaresistenciasp.org.br
http://vladimirherzog.org/
https://bit.ly/2QQ8atC

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On my second visit to the bienal, I noticed things I did not have much time to notice the first time, besides going to the third floor which I had not yet visited.
The first two images remind me of my style of painting, the first by tonalities and the second by simplicity and outline.
The "too soon" / "not now" by Waltercio Caldas drew a lot of attention for the reflection caused by the glass, the typography and the structure used, as well as the feeling of procrastination.
The collage reminded me a lot of Richard Hamilton's classic and I found the use of perspective very precisely.

* Anibal Lopéz - new artist that i enjoyed

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Works that called my attention:

Woman under fire - Isabel Castro

Doña Concha - Marcia Schvartz

Tarefa 1/Marca Registrada - Leticia Parente

Horizontal 2/Cartão de saúde - Claudia Andujar

Uruguay, una situación fuera de foco - Margarita Paksa

El mundo de la mujer - Maria Luisa Bembelg

Acción del encierro - Graciela Carnevale (performance)

Nirma Zárate - Ocho intoxicados/ Una niña muere por inanición/ A nosotros (silk screen)

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Since i won't be able to stay at EBAC, i'm working on finding out exactly what i want.

- I decided that I love serigraphy and it is a path I would love to follow, however, studies of this technique are scarce and I can not put one together for myself, I talked to Marcelo and he told me that there is a public in the secretary of culture (but simpler) I'll take advantage of this technique as long as I can in those 2 months.
- I'm looking for courses of bookbinding and i found one near to my home at Senac.
- I think that whatever the place I go, it will not be as manual and artistic as here, it's something that I got too attached to and I do not want to just keep on computer, even following digital or graphic design.

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Initially, I was only going to see the temporary exhibition, but I had time to take a look at the long corridors of the Pinacoteca, EBAC gave me a habit (since the first project) to draw objects from the museum, so the statues called me lots of attention.

Other works:
Pedro Geraldo Escosteguy - Linha de força

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Bauhaus:
The Staatliches-Bauhaus was a school of design, fine arts and avant-garde architecture in Germany. The Bauhaus was one of the largest and most important expressions of what is called Modernism in design and architecture, being the first design school in the world. It was extinguished by the Nazis in 1933.

In order:
- Tlaloc - Josef Albers
- Sem título - Hélio Oiticica
- Vaso com rosto latino (to draw)
- Aula de Ivan Serpa para Crianças

Others:
- Cartaz do filme "Deus e o Diabo na Terra do Sol"
- A mão do povo - Lygia Pape
- Vitalino/Lampião - Geraldo Sarno

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In order:
- Artur Barrio - 1)De dentro para fora 2. Simples...................,1970
- Márcia X - Tv Studios, 1987
- Leonara de Barros - Procuro-me (2001/2018)
- Cildo Meireles - Projeto Coca-Cola

Others:
- Antonio Manuel - Série Flans, 1975 (matrizes de jornal)
- Neide Sá - A corda (1967/2010)
- Paulo Bruscky - Hago lo que no existe y veo lo que vosotros no veis, 2017

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- In the picture bellow i found Neide Sá in two exhibitions, which is funny, since they were works that called me much attention in the pinacoteca and in the sesc pompéia. I found it interesting how she created collages without glue and the protest made in both cases.
- I also found the work of Cildo Meirelles (the coca-cola project, 1970) in the pinacoteca and sesc pompéia (they were in the protest briefing)
- Hélio Oiticita had a job on sesc pompéia using gouache and one in 3D at the pinacoteca.

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Neide Dias de Sá (Rio de Janeiro, Rio de Janeiro, RJ, 1940) is one of the founders of the vanguarda movement Poema/Processo, which began in 1967, being one of the responsible for publishing the works Ponto 1, Ponto 2, Processo and Vírgula, linked to the movement. The beginning of her production, which dates from the mid-1960s, is marked by her association with the radical and politically engaged ideals of the movement. From the 80’s, Neide focuses on the creation of participatory works, in which the body of the spectator operates as an integral part of the artwork.

In 1976, she joined PUC / RJ, where she studied visual programming, graduating in 1980. Three years later, she completed her post-graduate studies in Art Education at the Benett Methodist Institute; She studied engraving and photogravure, with Tereza Miranda; Painting, with Katie Van Sherpenberg and participated in the Engraving Workshop, researching engraving techniques at MAM / RJ. In parallel to he studies, she directed the Heitor dos Prazeres Art Nucleus between 1966 and 1983.

Neide participated in the Venice Biennial in 1978, the Biennials of São Paulo in 1974 and 1978, and the 3rd Biennial of Mexico in 1990, among others.

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Aníbal López (A-1 53167), full name Aníbal Asdrúbal López Juarez (April 13, 1964 – September 26, 2014) was an artist and a native of Guatemala.[1] He began his career creating figurative art influenced by expressionism. He has worked in several media, including acrylic and oil on canvas, photography, and video. In the 1990s he and other Guatemalan artists such as Regina José Galindo began creating art "actions" or live art, a combination of street art, performance art, minimalism, and conceptual art. A-1 53167 is the code name (his Guatemalan ID card number) that Aníbal López has used since 1997 to sign many of his art actions as a way to show how he questions codes of information regarding identity.The effect is to erase an ethnic-specific sense of belonging and perhaps to resist the impulse of art consumers to categorize him in preconceived categories such as indigenous, Mayan, or Guatemalan.

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One of my favorite series is working on this theme, i think the way they see the apocalypse could be an inspiration for me (the first episodes, mainly)

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Watch American Horror Story: Apocalypse Trailer

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This is the Beachy Head, known as the "edge of the world", is a chalk cable in the south of England near the town of Eastbourne in the county of East Sussex.
Its height made it become one of the most famous suicide points in the world, which could be an end-of-the-world interpretation.
I'm working only on the image of the cable to represent my idea what i think would be the edge/end of the world.

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On my idea, i'm assuming the idea of the flat earth - so i can have a border (although it's not an idea that I agree). I think that having people that actually bealive the earth is flat its a kind of end of the world too.

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Collage made in photoshop to represent my idea and pass into the painting.

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- Imagine
- Marcos Mayora: Pablo (BR)
- Black stories
https://blog.ludoteca.com.br/23-jogos-de-tabuleiro-modernos-para-se-divertir-com-a-familia/
- Cards against humanity
https://exame.abril.com.br/estilo-de-vida/cartas-na-mesa-a-nova-geracao-de-jogos-de-tabuleiro/

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I choose this game as the main inspiration because it works with diffent materials and this calls atention and public. The acetate is something new, besides it talkes to the movie thing/projection.

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AM I GOING TO STAY AT EBAC? update 08/12: i am

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AM I GOING TO STAY AT EBAC? update 08/12: i am

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I'm not staying at EBAC for next semester because i don't have 4000R$ per month to pay the foundation course (neither the BA). I'm trying scholarships in different high schools that maybe don't provide what EBAC provides to me but i'm going to be able to work (at least). I'm doing entrace exams to 2019.1 and thinking in ways to get my best out of my experience in EBAC.

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A comercial from the 90's for a game, i like the aesthetic and i'm trying to get a "basic" and "classic" visual.

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Comercial - Jogo de Tabuleiro - Super Passa ou Repassa - Grow

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I was thinking about going into some silence-movie aesthetic to the video and mixing with a little "how to". This is from american horror story and i've based on this

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The Redux Project is an attempt to disrupt the cinema industry by making counterfeit sections of popular films. The project was in London, Glasgow, Berlin, Bangkok, Sydney, Seoul, Hong Kong, Shanghai, Beijing, Guaangzhou, BBC4 and many more, and, unlike most derivative works, the fakes have often received better reviews than the originals.

By remaking these famous shots using low budget, he is showing that normal people are able to create content and breaking a part of the Hollywood industry.

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- The Gallery of Lost Art was an immersive, online exhibition that told the stories of artworks that had disappeared. Destroyed, stolen, discarded, rejected, erased, ephemeral – some of the most significant artworks of the last 100 years have been lost and can no longer be seen.
- John Anthony Baldessari is an American conceptual artist known for his work featuring found photography and appropriated images.
- Baldessari conceived of the destruction of his early works as an artwork in itself called Cremation Project and in a letter to a critic shortly afterwards he wrote, ‘I really think it is my best piece to date’.
- By burning his latest works, Baldessari turned his art into something more, he created a concept beyond what was already in the pieces of dematerialization and detachment.

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john baldessari cremation project lost art 04_0

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A website asks people to reimagine great pieces of art: https://www.booooooom.com/2011/09/29/remake-submission/

- It is a hit-and-miss game, but this project has alighted on something very real and powerful. Great art does goad the onlooker to copy poses, costumes, lighting. There is a deep drive to "remake" art that must be something to do with the way we enjoy it, think about it and remember it.

Remaking art is an experiment in understanding it, artists have played this game for centuries because it is one of the most intimate relationships you can have with a work of art. We can all play the game and step inside the imaginations of our culture.
By refreshing the memories of old artists and bringing them to our cultural moments we are maintaining the importance they have had in the history of art and exploring as if it were a game makes everything more fun.

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The method, and the word, were first popularized by Pablo Picasso and Georges Braque in 1912, when the two were radically transforming the painting world with their dive into Cubism. For the Cubists, collage became a central part of their campaign to explore painting's illusion of three-dimensionality while frankly acknowledging the flatness of the canvas, a break from hundreds of years of Western painting tradition.

The European avant garde after the First World War -- the Dadaists and their Surrealist cousins -- continued in the collaging spirit of the pre-war Cubists, filling their work with found objects, assemblage sculptures and images placed outside of their original or normal contexts. Other artists, including Jean Arp and Henri Matisse, saw in collage a potential for abstraction and simplicity in their work, using glued pieces of painted paper in their compositions. Matisse's work with collage became especially central to his art as he struggled to paint in his old age.

During the postwar years, collage became a favorite medium for artists like Pop Art pioneer Richard Hamilton, whose iconic 1956 piece "Just what is it that makes today's homes so different, so appealing?" used material cut out from magazines and advertisements.

https://bit.ly/2zS2b1u

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MONSTER PORTRAITS by Eelus

A set of 3D collages made especially for my solo exhibition Horrorshow at Ink-d Gallery in Brighton during halloween of 2013.

Since my boyfriend showed his work to me i couldn't get how he does the overlayering so perfect and it doesnt look like a child thing.

https://bit.ly/2EmXuRf

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Luke Robson (@stoddartist)
UK based digital collage artist that creates vibrant and surrealistic collages using Photoshop.

His work imagines a retro future filled with stars, cosmic rays and space helmets, plus a healthy dose of bizarrely juxtaposed imagery.
https://www.stoddartist.com

I'm really into the surrealistic movement and the space, and that's the most facinating thing about digital collage, you just get any image you want and edit it exactly how you want, using the colors you want and the effects you want, this guy make it looks so natural and easy on his videos making the collages, it seems easy but requires lots of technique and editor knowlodge.

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Athos Bulcão
Mostly known for his tiles, Athos has worked with surrealist collages too. I've seen his work on an exhibition in the start of the year and i was amazed by the diversity of his work, collages in my perception always are a surrealistic thing, the way he mixed the images and created a little way of photography surprised me, it looks different from his kind of minimalist common work. I couldn't find lots of images of his collages, lots of people don't know he worked with different medias.

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Richard Hamilton
Known as the progenitor of British Pop, made collages and paintings inspired by glossy printed ads.

Mostly known from his collage "Just what is it that makes today's homes so different, so appealing?". I've always been interested in his work even not knowing him, i can't exactly understand how the cuts are so perfect and that's the most admirable thing i see on his work and the way he combines the images make it looks so combined and complete, just like they were part of the same piece since the start.

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I went to Pinacoteca to look at Rosana Paulino's work with collage and was a greatfull surprise, i've discovered lots of medias that she works and i'm amazed by the culture/critic/esthetic in her work.

Her work with collage is more cubist and not exactly what i was looking for in this project, but the papers are in a good pallete in contrast to the black and white photographs, looks like something old trying to be new.

Geometria à Brasileira, 2018

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Rosana Paulino is a Brazilian visual artist, educator and curator. She holds a PhD in Visual Arts from the School of Communications and Arts of the University of São Paulo and an engraver specialist from the London Print Studio.

I've already known her from my best friend and saw her in the exhibition "Histórias Afro Atlânticas" but seeing her in a single exhibition gave me a bigger view of her job, she works with lots of medias, since drawings to sculpture. I believe that being able to explore different materials is a good thing about her.

Being a woman, a person of color and an artist in Brazil is a hard job and i see Rosana as an inspiration to keep fighting to have a place in the market, besides all her critic work.

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Rosana Paulino - Artista Visual, Pesquisadora e Educadora. Doutora em Artes Visuais pela ECA/USP

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The connection between the two was almost mythical, when Warhol died, Basquiat fell into a deeper depression, the two were great together and the symbolization of a great white artist doing work with a great black artist, brought a new idea to the racism of time.

Nothing symbolized more the connection between Warhol and Basquiat than the posters for which they posed for photographer Michael Halsband dressed as boxers, to announce their joint exhibition at Tony Shafrazi's gallery in 1985

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Powell's City of Books: It is one of the biggest bookstores in the world, independently owned and operated in the Pearl District. It's incredible - more than a million new, used and rare books fill an entire city block, 3 stories high.

When I googled "city of books" the first thing that appeared to me was this bookstore on Portland,it's not actually a city but this main picture bellow looks like what i want to do, they don't have like a sculpture but i can base myself on this to build mine.

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Looking at the image without knowing the title of the work made me feel bad, passes an interpretation of blocking ideas, I believe the author was very successful on this represantation.

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Looking by the first time we can see lots of colors and shapes, it calls for attention by itself, the drawing is very geometrical and remember a cubist style.

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by: Chinese artist Liu Wei

During my research (after the idea was already being realized) I found this artist who did almost the same thing as me, using the same material, school books, I'm not having the same vision as him, his city seems cleaner and perfect, besides of being built on book bases and being a great installation, his work is more delicate and contrasts a lot with mine, despite the same idea and material.

https://www.mhpbooks.com/cityscapes-made-from-old-school-books/

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House Sculptures Made of Cut & Hollowed Books

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House Sculptures Made of Cut & Hollowed Books

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For his sculpture series “Built of Books,” Dutch artist Frank Halmans transforms stacks of old books into quaint row houses. To make the sculptures Halmans painstakingly hollows out the books and cuts windows and doorways into the covers.

one of my first ideas was to use the format of the book to make a house and thus to pry windows and doors in it, this artist did exactly that, the books are stuck and connected, building something like comodos and they seem like a word dwelling, where they are protected from human hands.

https://laughingsquid.com/house-sculptures-made-of-cut-hollowed-books/

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Designers and artists liven up the royal london hospital

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Designers and artists liven up the royal london hospital

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https://bit.ly/2WLvn3R

The hospital became very colorful and it breaks the "ice" of a hospital environment, makes it happier and less intimidating and depressive, the 3D cuts makes the kids want to touch them and feel part of it.

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One of the hundred flags designed to represent the world - polish pavillion at the expo seville in 1990.

The flag is very colorful and calls children attention by the simple format and way to understand, it can be seen as a mix of cultures and races, inspiring kids to understand the others, the image has nothing written, which makes it accessful.

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MISSION:
To welcome children and adolescents in situations of risk and personal and social vulnerability, contributing to their reintegration into the family and society.

VIEW:
To be a welcoming institution of reference, respecting the particularities of the children / adolescents, contributing to the development and formation of them and their respective families, for potential reintegration into a more just and fraternal society.

VALUES:
Christian Principles;
Responsibility;
Sustainability;
Credibility;
Primacy in the care of children and adolescents;
Technical quality.

The institute is home to children and adolescents, the intention is to make the place more agrarian and happy, for this project, the use of simple colors and designs seems to be the ideal.

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https://www.laurateixeira.com/work
She is a brazilian artist that works with basic shapes to create illustrations and it makes the drawings look simple but detailed.
Her work has a lot of collage with paper and she creates drawings from it, it's very representative and outstanding.

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In the holidays, I went to this museum with my little sister and it was a great experience, there they have a sensorial experience that tries to get childreen involved in art with fun and make them more creative, that's one of my ideas. They also try to make it great for both adults and kids.

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O Museu da imaginação é um espaço cultural onde as crianças podem interagir com o meio e são instigadas a usar a imaginação. É o mais novo espaço lúdico de São Paulo, abriu em janeiro de 207.

O lugar é muito bem pensado, e consegue envolver as crianças.

A visita funciona assim: um monitor vem receber os visitantes e começa a guiar nosso passeio.

Na primeira sala encontramos a exposição esferas. A exposição é feita com obras de artistas brasileiros inspirados em Picasso. São exploradas diversas fases do artista.

As crianças são convidadas a tocar e experimentar as peças de arte disponíveis e terminam criando suas próprias obras de arte.

Na sala Ora Bolas, contemplamos uma sala com diversas bolas penduradas que sobem e descem e imaginamos que podem significar...

Saímos da sala e atravessamos uma densa cortina que leva a um outro ambiente, totalmente lúdico com diversos atrativos para explorar e brincar. Neste outro ambiente, é que as crianças (e os adultos) se soltam de vez!

Tem redes com bolas penduradas para escalar, um vídeo-game controlado por bicicletas, Uma casinha bem alta com escorregador, instrumentos musicais de verdade para tocar, um espaço com uma fogueira virtual ( que Lorenzo ficou na dúvida se era de verdade ou não mas, não teve coragem de encostar), Uma arvore gigante que podemos entrar dentro dela e uma estação que chama "O poder das águas" e as crianças acertam pequenos geradores de energia com pistolas de água e assim conseguem acender um painel de luzes. Enfim, tem várias atividades. Os monitores são muito bem treinados dá para se divertir bem!

Fomos em uma quarta feira à tarde, estava tranquilo... só tinha o Lorenzo e mais uma criança no início e mais tarde chegaram outras poucas crianças. Então pudemos aproveitar bem.

Aos finais de semana é bem mais concorrido então é aconselhável comprar ingressos com antecedência.

Rua Ricardo Cavatton, 251 - Lapa - São Paulo / SP

Atendimento: De terça a domingo das 10 às 17h

As visitas com mediadores são feitas em dois horários às 10h e às 14h. com tolerância de 15 minutos de atraso. No dia 10 de março sexta-feira terá uma promoção com valores de R$ 40 (adulto) e R$ 25 (criança).

O valor atual promocional de inauguração: adultos acompanhados de crianças pagam R$ 50, crianças de 3 a 12 anos pagam R$ 80, preço válido por tempo indeterminado. Crianças de até 2 anos e 11 meses não pagam!
Consulte o site para ver os valores atualizados antes de ir.
Estacionamento conveniado na Rua Ricardo Cavatton, 125 - R$ 20,00 o período

Telefone: (11) 2645-7590

e-mail de contato: contato@museudaimaginacao.com.br

Agendamentos de Grupos:

Reserva Grupos (Marcelo)

Telefones: (11) 3280-6749 / (11) 99889-9544

Post original publicado em: https://blogdalion.com/

Sobre a autora: Olá! meu nome é Karina Leão , tenho 32anos, sou turismóloga por formação e turista de paixão. Sou casada e tenho um filho de 5 anos. Adoro cozinhar e tento levar uma vida equilibrada. Quando meu filho nasceu, eu resolvi deixar a vida profissional na sua forma tradicional e me dedicar a minha família. Acontece, que isso me fez descobrir um mundo totalmente novo e cheios de desafios. Sempre gostei de registrar os momentos da minha vida, o diário que na adolescência era secreto, agora é aberto a todos. Assim, compartilho as experiências desta nova fase de vida. E desta forma, espero que as dicas e os aprendizados que tenho feito neste tempo possa ajudar também, de alguma forma, a vida de outras pessoas.

Meu nome é Patrícia Ribeiro. Sou formada pela Faculdade Cásper Líbero e já trabalhei como editora e repórter em revistas, jornais, sites e em assessoria de imprensa. Adoro contar histórias, sou curiosa e gosto de ouvir as pessoas. Como gosto de viajar, acabei escrevendo muitas reportagens de viagens e turismo e produzi guias de viagem nacionais e internacionais. Adoro a vida cultural da cidade e descobrir lugares novos. Resolvi aliar o que eu gosto do que faço no meu tempo livre neste blog e compartilhar minhas dicas com moradores e visitantes.

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Sabia como é o Museu da Imaginação, o novo espaço lúdico de São Paulo

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O Museu da imaginação é um espaço cultural onde as crianças podem interagir com o meio e são instigadas a usar a imaginação. É o mais novo espaço lúdico de São Paulo, abriu em janeiro de 207. O lugar é muito bem pensado, e consegue envolver as crianças.

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A master of public art, Mark Jenkins is famous for his lifelike sculptures that he places in absurd spaces.

The geometric style is something simple and easy to understand, this work in particular, brings a 3D dimension in the middle of 2D, despite being basic shapes, draw attention to the colors and the will to touch to know if it is off the wall or not. It is something that I would like to work with the children because it instigates their instincts and works shapes and colors.

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Her mantra: “MAKE HAPPY THOSE WHO ARE NEAR AND THOSE WHO ARE FAR WILL COME”

This work from her reminds me very much of a pop art style, it seems to have a touch of Andy Warhol's colors on the murals, the fonts used also remind me a lot of the movement (a 3D thing). She can move from simple to flashy, you can't ignore her work.

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the art or skill of combining text and pictures in advertisements, magazines, or books.

I do not think that I have had many opportunities to develop this skill as much as the others in that year, but it is something that I have been inside for a long time and that whenever I can, I apply in other areas, I like diagramming, grids, publishing , would most likely follow up.

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the action or fact of illustrating something, either pictorially or by exemplification.

Although I have several works in this area, I'm not very interested since I've never been very attached to drawing, which for me, is what the illustration is based on.

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Visual arts is an area that encompasses any form of visual representation of color and form. Dramatic visual representations, such as cinema, theater and music, also fit this area.

I enjoy working with sculptures, some types of painting and other more manual techniques, easily, I could apply them in another career, I even came to cogitate visual arts, but it's not exactly what I wanted.

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- Vibrant colors, like orange and yellow, are stimulating. "These colors that bring us back into the sunlight and automatically make our body produce the hormone serotonin, bring us a sense of well-being and stimulate learning. Yellow and gold tones enhance confidence and self-esteem.
- A vibrant and energizing color, orange portrays mood, attracts consumers and stimulates creativity. Like red, it is very active, cheerful and stimulating, with the advantage of being more pleasing to the eye. The visual experience of the orange color reflects warmth, excitement, enthusiasm, change, expansion and dynamism.
- Green has an effect that improves reading skills and is suitable for study or library locations. If the goal is to encourage imagination, the calming effect of blue may be the ideal choice. The tip also applies to a place for children's games: the smoother the tone, the more stimulating the creativity of the little ones.

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In the project research, what was requested were other work in collaborations, nothing interested me much, besides being a very fast work.

In thermes of the actual work, I searched about cordels, woodcut and brazilian culture.

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To be honest, in this work, I did not use many references, it was more about doing, during the process, I researched some things and found works similar to mine but did not get the same message.

In this period, we analyzed different works at the beginning of classes and some of them were relevant, like the one of the Barton Lidice, that led me to use the nails in the same intention as him, but the one of Romero Britto, for being a work that I do not identify much , I think I could not analyze very well and with a greater subjectivity.

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On this work, I relied heavily on things I found on pinterest, things my 5 year old sister would like, childish things... I tried to think as much as a kid, most of the research is in my sketchbook because it was all very manual.

The research I did before the project itself was not very useful because it was more visual and I needed something more interactive.