Progetto grafico 32 — “Here, elsewhere” — Index
Edited by Serena Brovelli, Claude Marzotto, Silvia Sfligiotti
In this issue of Progetto Grafico we aim to investigate the different ways in which the relationship between a here and an elsewhere — both starting points and destinations, sources and reworked versions, mother tongue and foreign language… — unfolds within visual communication, fostering transposition processes of form and content, codes, styles, media and contexts.
Serena Brovelli, Claude Marzotto, Silvia Sfligiotti
Editorial
Here and elsewhere are correlative points that define one another to indi-
cate orientation in space and time.
The expanse between them is a condition for all movement: without difference there is no thought or connection.
The relationship with otherness is at the heart of all the processes of transposing the forms and contents, codes, styles, media and contexts through which visual communication — intermedial and international by vocation — helps circulate knowledge and the imaginary.
Ester Greco
Henry Steiner. Cross-cultural design
Henry Steiner introduced the discourse on cross-cultural design, re-working Chinese characters, symbols and local cultural features and transferring them to a more international dimension.
Silvia Sfligiotti
Nomadic Traces. Interview with Huda Smitshuijzen AbiFarès
A project bringing together Arab and European designers and artists to create typefaces and objects celebrating the richness of Moroccan heritage through its scripts.
Emilio Patuzzo, Salvatore Zingale
Designing forms
Semiotic models for the designer-translator.
Federico Antonini
Lost & gained in translation
The many lives of Chris Marker’s La Jetée.
Chiara Barbieri, Davide Fornari
Xanti Schawinsky: the lost typefaces
Two previously unknown typefaces designed by Xanti Schawinsky in the Thirties show how migration of graphic designers helped spread the ideas of the Bauhaus and shuffle the cards of graphic design.
Laura Bortoloni
New images for popularizing and sharing knowledge
What is happening to science communication in the era of transmedial storytelling.
Giorgio Ruggeri
Digital history is [also] a matter of design
What forms can history telling take on the Internet? How can information from the past be turned into online experiences? Digital history projects expand the field of visual communication towards uncharted territories.
Maria Rosaria Digregorio
NUM3R4L5
A hypothetical and partial reconstruction of the evolution of the concept of number and its visualization systems, from prehistory to artificial intelligence.
Mauro Tosarelli
Letters from jail
The role of secret Palestinian communication in Israeli jails.
Friends Make Books
Translation, Risography, Materialism
Image reproduction does not escape the embarrassment that faces contemporary design disciplines when confronted with the problem of translation. In the risographic world, widespread dependence on translated images coincides with neglect of their status as reproductions, a general failure to take into account the differences introduced by the Risograph printing process.
Davide Fornari
Chaîne graphique: exploring the workflow
Chaîne graphique, literally workflow, is an expression normally used in the graphic design world to define all the processes and people involved from concept to finalization of a visual artefact.
This process is at the center of a research project at ECAL.
Claude Marzotto, Maia Sambonet
Out of sync. Alterations in space and time between figure and background
A brief phenomenology of the effects of proximity, distance and displacement in photography.
Saki Mafundikwa, Fontarte, Pouya Ahmadi, Zero per Zero
Elsewhere, here (Harare, Warszawa, Chicago, Seoul)
Off topic
Federico Novaro
Handkerchief: a non-magazine about homophobia that challenges standard editorial practices
Founded by five students at ISIA in Urbino, Handkerchief is a magazine that stands up to homophobia. It won the Jury Prize at the European Design Awards 2016 for its social impact.
Tommaso Trojani
Designer, a fragrant type
The typeface Symbol helped Aldo Novarese get satisfaction of a group of graphic designers enrolled to supervise the Nebiolo art studio in 1965.
