Un mundo de sensaciones (Deseo) (Spanish Edition)
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About this Item: Editorial Egales S. Language: Spanish. Brand new Book. PARRA-TORO claims to be a great admirer of Alexander Calder, with whom he shares the engineering education, the interest in the playful component, the interaction with the viewer and the subtle limit between abstraction and figure. Play, movement, experimentation with new materials and exploration of color and light have been present both in the Mobiles and the Circus of the American artist, and have proved critical for the searches performed by international kinetism.
These studies, to which he has not devoted to in his professional life, taught him to love mathematics, the discipline and the work methodology that he has later applied to his work. Curiosity and interest in experimentation drove his learning and elaboration of the world of new technologies until he became one of the pioneers in the development of 3D art in Latin America with the use of the tri-dimensional software tool called Alias Maya.
Years later, he worked in the videogame industry as a 3D art developer for different international companies. This work period should be thought of as an experimentation stage which provided a great knowledge, and although PARRATORO considers that the final product of this industry generates a certain disconnection among people and promotes isolation from reality, we can see how part of his current aesthetics is rooted in these first research and works. From the Universe of Videogames to Character Design.
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Appeal is a complex defining principle. Simplicity, the simplicity of shapes, is a simple technique that is based on the use of basic shapes to draw attention from detail and focus it on shapes. Finally, clarity refers to a clean design aimed at preventing visual confusion, since a character design does not require a great deal of detail in order to be interesting.
Here, it differs from the videogame and animation industry, since the characters are not figures established by the creator but depend on this active participation and intervention by the viewer. Thanks to research and sharing activities, it has become a platform used to debate and redefine the boundaries of contemporary character representation within the international artist, creator and theorist community, driving a new understanding of the character throughout the world. The main focus of this project is based on the empathic feature appeal principle for certain images in order to create direct emotional links with the viewer.
The proposal is concrete, and is based on visual and conceptual search and exploration within character design to achieve a balance between empathy and symbol. A sort of intermediate point between Mickey Mouse and pictogram aesthetics, it communicates and takes the limits of the anthropomorphic representation appeal one step further worldwide.
A product of illustration and typographic aesthetics, he has used color markers and paper as his privileged production tools. Synthesis dominates his work, based on a repetition idea focusing more on the process than on the result.
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A follower of the marker aesthetics, he has taken his characters to different supports and dimensions; he sometimes repeats them until full surfaces are covered, or depicts them as a single character on individual or small group portraits. By multiplying these beings, a particular dynamism is achieved. They are made of specific and concentrated elements —tiny lines and small dots.
These are characters that generate empathy with the viewer from specific visual resources thanks to the briefness and simplicity of the story they tell. Fascinated by the possibilities offered by character design, PARRATORO formed part of the first Pictoplasma Academy , an intensive educational program dedicated to training and interchange in the character creation scenario.
No permaneceremos al margen observando pasivamente estos acontecimientos. Y menos para asistir pasivamente al desarrollo de una crisis. En hombres Transforma las experiencias sufridas pasivamente en activas cambiando dolor por placer. El primero sufre pasivamente el desenfoque, el segundo se proclama activamente desenfocado. Hacer - se activamente lo sufrido pasivamente es un modo de hacer de la necesidad, virtud.
Porque la forma de adquirir propiedad, pasivamente universal, reconocida por la sociedad, es esa. Consentirlo pasivamente puede instigar a que lo mismo les pueda ocurrir.