Antonio Petruccelli, maestro de los años 30 y 40 del siglo XX

Si no conoces el trabajo de Antonio Petruccelli (Fort Lee, NJ, EEUU, 1907-1994), merece la pena que le prestes unos minutos de atención.
Ilustrador, diseñador, cartógrafo y diagramador muy inspirador, uno de los grandes del siglo XX.

Si pones en Google su nombre aparecen bastantes de sus fantásticas portadas para Fortune Magazine (desde 1935 hasta 1945) y The New Yorker.
Aquí os dejo algunas de sus gráficas.

US War Department, enero 1941

Antonio Petruccelli, The World´s Largest Distillery

Antonio Petruccelli, Fortune Magazine, 1942

The main dynamics of the US Technological mobilization for war.

One big family, A Management Chart, Febrero, 1940

Italia, 1934

Portada de Fortune, junio 1937

Estos son algunos links que recogen su trabajo:

· Master Illustrator, Antonio Petruccelli

· Antonio Petruccelli en Fulltable, cronología de sus trabajos (muy recomendable)

· Vintage Fortune en Facebook

· Society of Illustrator

CARTOONS: Basta ya de sangre, México

Los caricaturistas mexicanos contra la violencia.
30.000 muertes desde 2006.

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Portada de hoy, La Jornada, México.

Los lemas «No + sangre» y «Basta de sangre» son repetidos hoy en las viñetas de los principales diarios mexicanos por los humoristas, que critican así la estrategia de combate frontal lanzada por el Gobierno del presidente Felipe Calderón contra la delincuencia organizada.

‘Propuesta: que el próximo lunes 10 a las 12 horas, con este avatar, bombardeemos la cuenta de Calderón con la frase ¡YA BASTA DE SANGRE! en el twitter.

Esta propuesta está en el twitter.

Pero también el maestro RIUS y el periodista Julio Scherer proponen que TODOS HAGAMOS UNA CARTULINA QUE DIGA:



De verdad ya basta, súmate a ésta propuesta ciudadana y reenvía a tus contactos, anímalos a que hagan su cartulina y que la pongan en un lugar bien visible.

«Para no vivir con miedo: juntarnos como los dientes, como las manos.»
Eduardo Galeano’.

ILLUS: Treblinka, Samuel Willenber

Campo de exterminio de Treblinka
Solución final.
Desde julio de 1942
870.000 asesinados.
Aktion 1005: la campaña nazi para destruir las evidencias y cerrar el campo (desde marzo hasta julio de 1943.
Destrucción total y se reconvirtió en una granja.
Comandantes Franz Stangl y Kurt Franz, sentenciados de por vida.

Samuel Willenber fue un superviviente del campo.

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Ilustración del campo de concentración.
Samuel Willenberg, 1923

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Otra recreación de Samuel Willenberg

Samuel Willenberg was born in Czestochowa in 1923. His father was a painter and teacher in the local Jewish middle school and his mother was Russian. The family moved to Warsaw shortly before the outbreak of World War II. In 1939 Willenberg volunteered for the Polish army and was wounded in fighting against the Soviets in the east of the country. In 1940 he moved to Opatow where he continued to teach privately. In 1942, in spite of possessing false documents identifying him as an Aryan, he was arrested and sent to the concentration camp at Treblinka along with the entire Jewish population of Opatow. Upon arriving at the camp, he claimed to be a brick mason and thus succeeded in avoiding death in a gas chamber. He participated in a prisoners’ revolt in August of 1943, during which he was able to escape and get back to Warsaw. With the outbreak of the Warsaw Uprising, he joined up with a unit of the Home Army (AK), and in September transferred to the PAL fighting organization. Following the fall of the uprising he received a series of medals: the Virtuti Militari 5th class, two Hearts of Valor, the Silver Cross of Merit and the PAL golden fighting badge. In 1950 he left Poland for Israel with his entire family. There, he worked for many years as the Chief Inspector of Measurements in the Ministry of Land Development. Upon retiring, he enrolled in the People’s University, where he studied painting, sculpture and art history. In 1994 he was once again granted Polish citizenship.

ILLUS: Ferrari World

Ilustraciones en el kit de prensa de Ferrari World.
No están firmadas.

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Formula Rosa

Más imágenes.

The media kit contains invaluable information about Ferrari World Abu Dhabi.

For further information and media enquiries, please contact Weber Shandwick:

Rachel Dunn +971 50 439 4186
May Ng +971 50 698 5227
Bijal Soni +971 50 715 8362

What is Ferrari World Abu Dhabi?
Ferrari World Abu Dhabi, set to open on October 28 2010, is the world’s first Ferrari theme park
and largest attraction of its kind. It will be an intense multi-sensory experience and a must-visit
for enthusiasts, fans and families. Ferrari World Abu Dhabi pays tribute to the passion,
excellence, performance, technical innovation that Ferrari has established over the years and
represents today. The Park will host a number of attractions, including rides for children of all
ages, a wide variety of Italian delicacies, and of course unique shopping experiences.

BOOKS: Unruly Alphabet, Aaron McKinney

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Unruly Alphabet
Aaron McKinney
Hardcover: 32 pages
Publisher: Mark Batty Publisher (November 9, 2010)
Language: English
ISBN-10: 1935613057
ISBN-13: 978-1935613053
Product Dimensions: 9.4 x 7.1 x 0.4 inches

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In The Unruly Alphabet, illustrator Aaron McKinney uses the Latin alphabet to create a lively and haunting abecedary. The restless glyphs tangle and spar with one another, setting the stage for scenes where «A was arrested, while B bit bullies» and «G is gored, which makes H hurl.» McKinney renders the scenes with macabre detail and sinister wit, and the accompanying captions hum with gallows humor. The Unruly Alphabet is truly an alphabet book like no other, for the brooding child in every adult.

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What if the letter A were an aggressive drunk who got into barroom brawls with his neighbor, B? Taking the term «word play» literally, illustrator Aaron McKinney sets the alphabet against a backdrop of rebellious behavior in The Unruly Alphabet. From hurling to undressing, McKinney’s bold renderings are darkly comical. By revealing the devilish characters embodied by each letter, they visually showcase human nature.

Aggressive and detailed, McKinney’s cantankerous glyphs compete in strange and nightmarish ways—C is chased by a devouring D, M mauls a napping N, and S swallows and terrorizes T.

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«I’ve always been interested in etymology,» McKinney says. «The way words, a human constructed concept, play off one another to somehow convey thought and expression in our minds fascinates me. With that thought in mind, I decided to strip language down to its most primitive form, the alphabet. To make it interesting, I anthropomorphized each letter with some of humanity’s most common, despicable traits. With each letter playing off the next, the end result is the alphabet, a pretty inorganic and deliberate thing made more barbarically human.»


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