By Bruno Ernst
Describes the equipment that are used to build interesting very unlikely figures which could tease the attention and baffle the mind's eye. Copious examples are drawn from the author's personal paintings and the fertile mind's eye of Escher and Oscare Reutersvard.
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Additional resources for Adventures with impossible figures
Dans une entreprise, l’innovation s’impose au quotidien. Entre un manager perplexe et un personnel critique, elle devient nécessaire (mais pas suffisante si le changement qui en découle n’est pas accompagné). L’innovation, en matière de design, utilise la systémique, le benchmarking, les décalages de code, les points forts des concurrents. Elle a pour but d’écrire une nouvelle page de l’histoire de l’entreprise, de motiver les équipes internes, d’enrichir le secteur d’activité de l’entreprise, de faire avancer sa marque, de donner au consommateur ou à l’utilisateur une nouvelle expérimentation de la marque au travers d’un nouveau produit ou service.
Mais actuellement, créer un logotype ou un packaging, concevoir l’architecture d’un magasin est une goutte d’eau par rapport aux investissements média. Mais une autre raison demeure. Les agences de publicité (rebaptisées agences de communication dès 1993, c’est-à-dire après la guerre d’Irak et au début de la loi Sapin) ont toujours parlé d’argent : les annonceurs eux-mêmes en riaient, qui dans les années 1970, les années pop, payaient très cher leurs agences et l’achat d’espace. Et le cliché est ancré : un graphiste peut dessiner le logo d’une banque sur un coin de table, un publicitaire a besoin d’un grand hôtel de Rio pour tourner un film TV sur des rillettes.
Roger Tallon designe le TGV. Le design devient éclectique, multidisciplinaire, global et sous l’emprise des marques. Création en France des agences de deuxième génération, comme Dragon Rouge (actuellement première agence en Europe). © Groupe Eyrolles 40 Le design est global 1982 Le mouvement Memphis décomplexe le mobilier et les objets du quotidien (Peter Shire, Matteo Thun). 1986 Tchernobyl confirme l’interrogation sur le progrès, auquel est associé le design. Les consommateurs se typologisent, entre les hédonistes (babas cool, bobos…) et les premiers partisans d’alter-design.