Sketching marcadores de aceite

Se consiguio un curso de Sketching con Marcadores de aceite, de parte de Chartpack.

Se impartira el jueves 3 de Diciembre a las 9am a 2pm

Habrá cupo para 35 personas, la lista para inscribirse esta en la oficina de Ale.

La lista de material es:

LOS COLORES DE MARCADORES (MARCA CHARTPACK) SON: (en el curso se venderán los marcadores también a $40, en las papelerías cuestan $45, así que por cada 4 que compren es como si el 5º les saliera gratis, es una buena oportunidad)

· BLACK P.98 (198)
· BLENDER
· PRUSIAN BLUE P.6 (91)
· SKY BLUE P.103 (77)
· BLUE GLOW P.106 (74)
· RED WOOD P.69 (164)
· KRAFT BROWN P.55 (153)
· DELTA BROWN P.57 (161)
· BEIGE P.137 (147)
· OLIVE GREEN P.31 (139)
· PALM GREEN P.32 (132)
· YELLOW GREEN P.38 (127)

Material extra básico: (yo creo la mayoría de ustedes tienen esto, así que es solo traerlo)

· UN LAPIZ 2H

· UN ESTILOGRAFO PUNTO 1 ó 2 (puede ser desechable)

· REGLA T Y ESCUADRAS

· BORRADOR Y SACAPUNTAS.

· MASKING TAPE DE ¾ o 1 pulgada de ancho.

· PAPEL CALCA 2 PLIEGOS. (RESPECTO AL PAPEL LO PUEDEN COMPRAR EN GRAPHINAR, UNA PAPELERIA QUE ESTA POR ABASOLO OTE., ES UNA SUCURSAL DE LA PAPELERA DEL NORTE, COMO A TRES CUADRAS DE LA COLON. SE LLAMA PAPEL CALCA, CUESTA 3.50 EL PLIEGO Y NECESITAN 2 PLIEGOS POR PERSONA.)

5 Ways to Sound Smarter in a Crit

What comes out of your mouth is sometimes as important as what you tack up on the wall, so when presenting design work in class, you wanna make sure your patter raises your game.

Try these 5 phrases to start you off when you're in a crit. They'll make you sound smart, and if you can pull them off, they just may just help you think bigger about your ideas. But be careful not to go too far; there's a pretty clear line between balls and bullshit.


Phrase #1
Just enough: "This design is all about scale..." (You can't ever go wrong with that one.)

Too much: "This design is all about scale, from the micro to the macro, from the human condition to the expansion of the cosmos. Design is about infinite possibility, and at this stage in my education, I consider myself limitless in creativity and ambition..."


Phrase #2
Just enough: "What I'm showing here blurs the line a bit between form and content..."

Too much: "What I'm showing here blurs the line a bit between form and content, teasing out the possibilities between what is and what might be. I think we can all agree that a true articulation of a design requires both the storytelling and, well, the actual book itself...so let me read you my book..."


Phrase #3
Just enough: "I tried to break the problem down into its most elemental parts..."

Too much: "I tried to break the problem down into its most elemental parts, and that the further I went, the more it became clear to me that at the end of the continuum—'cause that's what it turned out to be, actually—at the end of the continuum, what we're really talking about right there is 'the user.' So I started with the user..."


Phrase #4
Just enough: "The thing that I had the hardest time with was trying to make this assignment personal..."

Too much: "The thing that I had the hardest time with was trying to make this assignment personal. Without sounding narcissistic or self-absorbed...wait, are those the same thing?...well, without sounding like that, I really wanted to design something that made ME happy; something that I'D want to buy. And I have to say straight-out: I'd want to buy THIS..."


Phrase #5
Just enough: "Well, let me go on record that I have conflicted feelings about this work, but that at base, I really feel that these are studies. And as studies, they are more discursive than demonstrative..."

Too much: Actually, that last one IS to much, but it's a great test. If they don't cry B.S. after #5 comes out of your mouth, you're pretty much ready to graduate. Congrats!


*BONUS* Patty
When all else fails, you can always go with "I've taken my cues here from both nanotechnology and biomimicry..." or the ever-popular, "...and of course, it's totally wireless."

Pininfarina Bluecar eléctrico

Para los que esten interesados en Diseño Automotriz, y para los que no también...

En el pasado Salón del Automóvil de Paris, Pininfarina presentó su visión y versión de cómo debía ser un auto eléctrico, que no se 'peleara' con el diseño y el 'buen gusto' que ha marcado a la casa italiana.

Llamado BO en su época conceptual, el Bluecar es un auto completamente eléctrico y de enchufe, pero el problema en la mayoría de los casos no es tanto el auto en sí, sino las baterías que suelen representar el mayor costo del modelo.

Un vehículo eléctrico con diseño de monovolumen y dimensiones compactas y espacio para cuatro pasajeros que se presentó en marzo en el pasado Salón de Ginebra. De su estética urbana y moderna destacan sus formas redondeadas y la gigantesca luna trasera con paneles negros y sus característicos grupos ópticos traseros alargados con una fila de LED.

Por ello, en algunos casos nosotros adquirimos el auto, pero la propiedad de la pila seguirá siendo de la marca, por lo que un mejor plan de ventas es el arrendamiento. En este caso el Bluecar costará en el viejo continente 330 euros al mes, poco más de 6,500 pesos, lo que podría significar la mensualidad de un crédito. Además ofrecen poder cancelar el trato a los 3 meses si es que uno no está satisfecho con el auto.

Las baterías del Bluecar se encuentran en la parte baja del auto y tienen un peso de 300 kilos que generan 68hp, teniendo la posibilidad de recargarse mediante enchufe normal o de alta velocidad, energía recuperada de los frenos y en menor parte de los paneles solares ubicados en el techo.

Los números del Bluecar son simples y no causan alaridos, 6.3 segundos para llegar a los 100 km/hr , autonomía estimada en 250 km y una recarga total de 2 horas en conexión de alta velocidad y 6 en la casera. Pero si necesitamos algo de practicidad podemos cargar el coche para 25 kilómetros en apenas 5 minutos.

Según Pininfarina, el auto llegará igual que el concepto presentado incluyendo su conectividad vía teléfono móvil que permitirá desde el mismo pre arrancar el coche y saber el estado de carga de la batería.

Stop-motion de un tatuaje

El día de hoy, les traemos un stop-motion, o mas bien una secuencia rápida de un tatuado... esta padre de ver para quien le interese. ¡¡disfruten lo!!

Algunos datos de este video:

-El tiempo real de la sesión fue de 4 horas.
-Este vídeo consta de 1054 fotos.




fuente: http://www.flickr.com/photos/bearandy...

Classmate designertypes

Look around the studio. Who do you see? Let's examine the classic classmate designertypes shown above, starting from the left

"The Chosen One"
Surely you recognize your token class overachiever. Well, he's actually hard working and super talented and you just call him an overachiever because it's nearly unbearable how freakin' flawless he is. His concepts, drawing skills, models, and presentations are top drawer without fail, and besides academics, he's impeccably dressed, has the coolest new music you haven't heard yet blasting on his iPod, and of course, the fashion chicks love him. Yes, it's easy to hate on someone who makes life look so easy, but remember that you are who you hang out with and you might be able to learn a thing or two from Mr. Perfect.

"The Lady"
She's hot. She knows it. She's got mad skills and awesome ideas but always points her concepts to a female audience. If the assignment was to design a new urinal, she'd find a way to gear it toward the girls. Pretty sexist huh? Not so fast. This chickie is ahead of many who don't understand who their user is or even why it's an important thing to comprehend. Sure, she gets a little extreme at times, but she designs for a defined user, which is an important step in the design process that can help immensely in creating effective solutions.

"The Dude"
Duuuuude. According to this guy, innovation means coming up with the gnarliest tricks on his skateboard...and if designing new-fangled decks, trucks, and other skate gear supports the stoke, he'll put his pen to paper and/or mouse to Solidworks. The whole class rolls its collective eye when it's his turn to present, but honestly--how many students feel as passionate about what they design? Make sure to hang out with his royal radness during late nights at the studio because motivation and enthusiasm are contagious.

"The Cyborg"
She wishes she was from the future. Her dream boy is Geordi La Forge. She's all about nanotechnology. Can she tell you exactly what it is and how it can be applied? Well, just give her a second to look it up on Wikipedia. If it's not nanotech, it's infrared. If it's not infrared, it's bluetooth. If it's not bluetooth, you can bet she's got something up her techno-sleeve. Your class gadget dork doesn't always know exactly how her tech flavor of the week will be implemented, but she'll spit enough jargon to convince you it works. She'll produce a mean-looking, but non-working prototype and a long winded explanation for finals. Try not to fall asleep though. Part of being a great designer means keeping abreast of the latest technologies that can enhance your already awesome concepts. So sit up straight and pay attention. It's rude to yawn and nod off during someone else's presentation anyway.

"The Space Cadet"
Yeah, everyone knows he should switch majors. Maybe something like...glassblowing? He's always hungry, looks perpetually sleepy, and laughs a lot, even before you tell a joke. He's always late (given he makes it to class) and makes many a professor furious. But somehow, he always manages to slip on through with passing grades. He's talented and creative but perhaps a bit too laid back. This particular course of action isn't recommended, but his ultra chill attitude does come in handy during stressful times like right before finals or when he's being publicly humiliated, yet again, for tardiness. Calmness is a virtue. Take a "breather" with him around 2 a.m. if you plan on working all night 'til class starts.





Fuente: http://www.core77.com/hack2school/classmates.asp#classmates

Diseña tu arbol!!

El concurso que estabas esperando!! o tal vez no... pero la cosa son asi:

• Tecninca libre
• Max. tamaño carta
• c/marco color negro
• max 2 obras
• Las obras deberan ser entregadas en un sobre amarillo con una ficha tecnica que debera contener: nombre, titulo, tecnica, medidas y el año

La recopilación se debera llevar acabo los dias 17 y 18 de este mes de Noviembre, se entregaran con Larisa, la secretaria en el CIMTEC, frente a la oficina de Ale

El dia del evento sera el dia 19 de Noviembre a las 19 hrs (7:00pm)

Los arboles ganadores, seran escogidos por jueces que estaran presentes el dia del evento.

Los cuadros serviran para adornar los salones en los que tomamos clase.

¡Esperamos su participación!

Diseña tu LOGO!!!

IMPORTANTE!! este miercoles 11 de Noviembre es la fecha limite para entregar su logo para la carrera. Todos los logos deberan estar digitalizados y enviados al mail de Ale (directora de carrera) di.ale@itesm.mx

El logo seleccionado sera dado a conocer el 19 Noviembre en el concurso del "diseña tu arbol"

El logo se sometera a votacion en linea por medio del blog , para que esten pendientes.

1000 words for design students

"All You Ever Needed to Know You Learned in...
1000 words for design students"

by Allan Chochinov

There are a million things to learn in design school, but what about the things you need to know "about" design school? In an effort to be clear and concise—something your teachers are always bugging you to do—here are exactly 1000 words of advice for design students (clichés included):

Keep your ear to the ground.

The best gossip is any gossip. Start there and then do your homework. If a course or a teacher is reputed to be great, odds are that there's something there. Same for the inverse, but don't be dissuaded by advance reviews of a difficult or challenging teacher or course—sometimes the best fit is a tight one.

Do your homework.

There is no question that in design school, what you put in is what you get out. It's not exciting and it's not revelatory, but it really does turn out that the students who work the hardest and commit themselves the fullest end up with the best stuff. Inspiration and perspiration. You need 'em both.

School is expensive. Come on time. Stay late.

College in many countries is prohibitively expensive, so make sure you're getting your money's worth. Arrive on time and insist that your teachers do too. Stay after class and ask questions; find out about more than just what the class covered. Don't be a pest, but don't be a pushover either. Why? Here's why:

We work for you, not the other way around.

Use the library; ask for help. Make us work for you. You've already paid, right?

Hone your presentation skills.

Walking the walk and talking the talk are different skills. And no matter how good a designer you are, without a certain level of presentation skills, nobody will ever know. Practice public speaking, present your head off in class, and write, write, write. There is no underestimating the harm to your future that bad presentation skills can unleash. Really. You could stop reading this now and you'd have the best stuff.

Photograph everything.

If you do one thing in preparation for the new school year, buy a camera. We miss the old 35mm SLRs, but we're realists and recognize the irresistible benefits, instant gratification and economies of digital. Buy as many megapixels as you can, and if you can swing one of those sweet prosumer SLR digitals, do it. Make sure you bring your camera to class (not the expensive one though—your roommate's) and have fellow students photograph you presenting your work, conducting interviews, that kinda thing. Finally, have others take pictures of you making your models up in the shop. When you've looked at enough portfolios (car, toothbrush, chair, toy, form study, car, toothbrush, toy…), those "process" photos are positively the most exciting thing in your book to a jaded interviewer. "Did you make this model?" Well, yes. I did.

Do more; consider auditing a class.

"The people who do more are people who get more done." Duh. It's no secret that busy people often get a lot accomplished, and this is the same for students. Take an extra-curricular, non-design class (especially if grades aren't important/necessary for you), or, at the very least, consider auditing one course per semester. (Auditing a class means attending and doing the reading, but not taking up the teacher's time with homework, or taking up the class's time by asking questions. Get the word on the street, sit in during the first couple weeks of the semester, charm the pants off the teacher, and bask in the rays of someone telling you something you didn't already know. Most students aren't familiar with auditing, but it's offered in most schools.)

Read the paper.

This is the single best way to be and stay connected with the outside world. A killer-talented designer with nothing so say isn't much use to anyone (though the marketplace would expose the idealism of that argument!), and there's nothing more dangerous than an ignorant mass producer. If you live in a city that has a good newspaper, subscribe. If you don't, find a good one at your library, or read countless ones on the web for free. What's a good newspaper? The New York Times. There. That's a good one.

Get off campus.

School is great, and, after all, that's what you're doing there in the first place. But school design programs are kind of like the "official" program—the real stuff is happening by people who finished school (or often ignored it altogether), and your best investment is to connect with the communities of creative people who are doing design for a living and a life. Training in school is only part of the equation. Being submerged in the culture of design practice is where the real action is.

Don't work alone.

I know you know that design is a collaborative effort, so there's no reason why you shouldn't practice getting along with others while you're still in school. But that's not the real benefit of doing design homework with others: It's more fun. If you don't already know this, then you haven't done design work with others.

Take almost any job.

There is absolutely no replacement for the real thing, and practical experience in any design related field is more than you already have. So don't spend six months after you graduate looking for the perfect job. And, certainly, don't wait until you graduate to look for your first design job. You should be doing everything in your power to get some practical training onto your résumé and into your brain and hands before you graduate. That means helping out somewhere once a week, or bagging that summer internship. Do anything design-related. You'll be respected more by future employers, and have some chops by the time you get out.

¡altar de muertos!

El día 2 de Noviembre, día de muertes, una celebración mexicana de origen prehispánico coincide con las celebraciones católicas de Día de los Fieles Difuntos y Todos los Santos, y entre sus principales formas de celebración se encuentra el altar de muertos.

El atar de muertos, elementos fundamental del día de muertos, que consiste en instalar altares domésticos en honor a algún familiar. El punto angular de esta tradición, es la creencia de que el espíritu de los difuntos regresa del mundo de los muertos a este, para convivir con sus familiares durante un día, compartiendo con ellos, consolándolos y confrontándolos ante su pérdida.

En honor a estas tradiciones, se llevo a acabo el concurso del altar de muertos, en el que participarón varios de nuestros compañeros. Se tuvo una destacada participación por los 3 equipos inscritos de la carrera. Abajo les dejamos las fotos de los 3 altares de nuestros compañero de carrera.

y ...¡Muchas felicidades al altar de "Remedios Varo" por obtener el 3er lugar de dicha competencia!

What is industrial Design? and Why should I care?

by N. Rain Noe

If I could design anything, the world would be a very different place.

I'd make paper towel dispenser handcranks a little lower, so that water didn't trickle down my arm when I crank out the paper. I'd specify a heat-retaining ceramic for my toilet seat, and I'd embed a refrigerant unit in my pillow so I wouldn't have to flip it over to find the cool spot. I'd design condoms with a little bump on one side of the ring so I can distinguish sides in the dark. I'd design an alarm clock with a moving snooze button that's an easy target the first time, and becomes harder to find with each attempt. I'd design rings with round edges so they don't dig into bars of Irish Spring and get clogged with soap slivers each time I wash my hands.

Our job is to design products--anything and everything mass-produced, from Ferraris to toasters, and furniture to television sets. Industrial Designers dream up products through drawings, sketches, renderings, even doodles, and present these dreams to the manufacturing client, as a vision of what their products should look like.

The inside of an industrial designer's sketchbook often resembles a sort of flattened, compressed mad scientist's laboratory, filled with doodles of present-day products and futuristic objects--two-dimensional daydreams yearning to be transformed into three-dimensional reality. Industrial designers also create ideas with their hands, using studio materials like clay and modeling foam to show what a product should feel like.

While legend has Michelangelo discovering his sculptures inside blocks of marble, industrial designers often find the shape of the latest electronic gadget inside a chunk of clay or foam, or increasingly in a digital equivalent: Alias, SolidWorks, Rhino, Inventor or another of the myriad CAD programs that have come to dominate not just the design and engineering of products, but animation and film-making too. Whatever the material, designers can spend hours or days molding, forming, texturing, evaluating and adjusting their concept model, re-shaping the lines that eventually define a manufactured product, to be handled and utilized by thousands or millions of consumers. When you pop a brand-new product out of the box and touch it, the designer's hands and eyes have already run over that surface, in one way or another, hundreds of times.

For all the different goals designers offer for what they do at work, they can mostly be summed up with these two:

1) to make the product attractive
2) to make the product not be a pain in the neck.

I say the latter because if you think about it, nobody wants a toaster, or a lamp, or an iron. What people want is toast, light, and pressed shirts. You want certain things to happen in your life, like clean hair, good music, and to keep in touch with your friends, and so you have to put up with shampoo bottles, a stereo, and a phone, all of which are designed. These products can be a bunch of stodgy crap that clutters up your apartment, or a hyper-cool collection of objects that subtly enhance your life. The difference is in the way they're designed; the way they look and feel.

Some products look and feel...well...cool, and work well; the designer spent time with the product, refining the lines, testing the functionality. Other products have annoying qualities that can outweigh their usefulness, like coffee tables with corners that draw blood and remote controls that look like maps of Manhattan. The reason that companies keep making these poorly designed products is because people keep buying them. Consumers' inattention to design leads them to continue purchasing crappy stuff because they're not aware of the alternative. They don't realize how ugly the product's going to look in the context of their home and that they'll have a lousy time using it. If you ever couldn't set your alarm clock because you couldn't figure out the Star Trek button display; if you've ever had your finger bitten by a garbage can with a "bear-trap" spring-loaded lid; if you've ever cradled a phone between your face and shoulder and accidentally pressed several buttons with your cheek--then you have an inkling of what we're talking about.

As long as people keep purchasing products like that, with no eye toward how they look and work, the world will remain filled with ugliness, and the failure of things--staplers that require bomb-defusing concentration to reload, lamps that burn your hand when you shut them off, and ambivalent condoms

Re-evolución: México es color y plata

El pasado martes 27 de octubre se llevo a cabo en las instalaciones del Tec de Monterrey Campus Laguna la conferencia de Re-evolución: México es color y plata impartido por la Lic. Mónica Benítez, Directora del Centro de Información de Moda para Joyería de Industrias Peñoles. El objetivo principal de este centro es el de comunicar las tendencias de la moda, asesorar a diseñadores, artesanos, fabricantes y comercializadores con el fin de que sus mercados puedan operar de manera competitiva en el área internacional. Además de apoyar al arte y al diseño que son los pilares fundamentales para el impulso de la industria joyera mexicana.

El CIMJ es único en su género a nivel internacional ya que le da valor agregado al metal e interactúa con todos los integrantes de la cadena de valor de la plata, desde la minería hasta su diseño y comercialización, sirviendo también de plataforma de lanzamiento de nuevos valores.

Durante la sesión se dieron a conocer las seis tendencias de joyería para el 2010: Re-fugio, Re-plantar y Re-creación y las tendencias inspiradas en México: Bicentenario (Independencia), Centenario (Revolución) y México contemporáneo (siglo XXI).