Gerstner, K. The forms of colour: the interaction of visual elements, Cambridge, MA: The MIT Press, 1986.
Design Context Blog.: Karl gerstner
“Sans serif does not represent the final stage” Karl Gerstner “gerstner was stri…rstner-original/bq/ image from IDEA Document: On the Shoulders of Giants, pg. 97
Discover all artworks by Karl Gerstner (Swiss, 1930 - 2017) on MutualArt along with auctions, exhibitions and articles featuring the artist.
View Chromorphose (1974) By Gerstner Karl; Nitro lacquer on aluminum; 92.5 x 61.5 cm; Signed; . Access more artwork lots and estimated & realized auction prices on MutualArt.
View Chromorphose 3.04 (1973) By Gerstner Karl; Nitrocellulose paint on aluminium; 1235 x 810 mm; Signed; . Access more artwork lots and estimated & realized auction prices on MutualArt.
View COLOR SOUND 1 D (1968 - 1979) By Gerstner Karl; Nitro lacquer on phenolic resin boards; 86 x 86 cm (33 7/8 x 33 7/8 in.); Signed; . Access more artwork lots and estimated & realized auction prices on MutualArt.
"Designing Programmes", classic book on form as programme by the Swiss designer Karl Gerstner. Page 17: Again: Programme as Grid Grid meant here is the screen of a printing block. A good example for understanding an essential factor. Designing programmes means finding a generally valid principle of integrated arrangement. This applies not only to typography (a predestined application in any case) or — going farther afield — to the realm of geometry. It applies without any restriction to the realm of the visual. Without restriction because all the elements are programmable periodically, i.e. at will. There is no dimension, proportion, form; no colour, which cannot be constantly led over into another. All the elements occur in series, or better, in groups. The same applies in the realm of the acoustic, in music. Language is different, because the elements have not been produced naturally but artificially. Even if programming in literature is subject to restricted laws, it is still quite possible, Kutter's Programme for Berio. The Periodic demonstrated by the block screen: a light tone consists of small, black dots on a white surface; a dark tone is the reverse. Between them is the arithmetically exact grey tone: a checkerwork of black and white squares of equal size. Thus, from light to dark, the screen undergoes a transformation from circle to square to circle, in which Process the form changes as steadily as the tone. In the colour block there is the added fascination of the colour mixture: out of 4 colours (yellow - purple - cyan - black) all the colours can be produced periodically simply by manipulating the size of the half-tone screen dots. What could have been more logical than to take the screen itself as a sign programme for a block-making factory? Fig. 34: the minimum form declared to be a form is integrated into a larger whole in the other three examples (advertisement subjects).
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View Color sound S. Jacques 5 (1980) By Gerstner Karl; acrylic on wood relief; 112 x 112cm; Signed; . Access more artwork lots and estimated & realized auction prices on MutualArt.
Karl Gerstner. 3 Liberale Partei: Liste 3. 1959. Silkscreen. 50 1/4 × 35 1/2" (127.6 × 90.2 cm). Gift of the artist. 49.1960. Architecture & Design Caption: The Museum of Modern Art Renovation and Expansion Designed by Diller Scofidio + Renfro in collaboration with Gensler. Photography by Iwan Baan, Courtesy of MoMA
"Schiff nach Europa" by Markus Kutter book cover designed by Karl Gerstner (flip side ) - 1957
Swiss National Library rightfully will regard Karl Gerstner as “one of the most important innovators in typography, commercial art and corporate design” for centuries to come after his passing at ...
Swiss National Library rightfully will regard Karl Gerstner as “one of the most important innovators in typography, commercial art and corporate design” for centuries to come after his passing at ...
PORTRAIT OF LUDWIG VAN BEETHOVEN, BY KARL STERRER.
In 1962 Gerstner was hired by Adolf Theobald—one of the co-founders of twen—who was launching a new magazine aimed at the business sector. He described the editorial concept as “a human view of economics, an economic view of humanity.”
Grid final com a sobreposição das diferentes divisões de coluna possíveis — 2, 3, 4 e 6 colunas. O esquema é baseado no desenho do grid de Karl Gerstner para a revista Capital. Quem usou também foi o Francesco Franchi, no projeto novo da IL. A divisão de 12 colunas é hoje comum entre projetos de revistas, e era utilizada também no projeto anterior da Superinteressante, porém sem as características originais que tornam o projeto de Gerstner um grid modular: - a adoção de uma unidade à qual todas as medidas (tanto horizontais quanto verticais) devem estar submetidas; - a introdução de guias horizontais (flowlines) que repetem a divisão de colunas.
STAMPS GERMANY 100.KIELER WOCHE /18.6.1994. I SEND IT FROM THE NETHERLANDS THE SHIPPING DATE IS 20/30 DAYS PLEASE PAID WITHIN 3 DAYS I SEND IT FROM THE NETHERLANDS THE SHIPPING DATE IS 20/30 DAYS PLEASE PAID WITHIN 3 DAYS
Wondering how to make effect like the picture below? looks like frosted glass, i guess it was made by photoshop effect or realistic photo. Does anyone know how to make this kind of effect ? Thanks:)
