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SQUIRE augmented reality

Squire is redefined, it is projected, creates new readers and new content that will hand in hand with his audience and the new audience .
say people do not read, do not read that we are showing the same thing the same boring format, the same things, the same use of space, stale information that can be downloaded from the network, "0" interactivity, where competitions are trying to "send a coupon."

This poor suffer the newspapers today (Read the Colombian, world, time and many others), where the format is too big or layout is very old, do not eat or buy fonts, and no evidence who have initiated a thorough application process and management of new fonts in their publications.

For these reasons I consider pertinent to ask:

Graphic Design Can Save the press?

hear what an expert answer to this question:

Squire magazine since 2008 has made innovations in the front line, first with his typographic covers s and aesthetics particular, the handling of typography and space in its content and now with augmented reality.

AND WHAT IS THAT OF AUGMENTED REALITY AND HOW DO I GET?

Robert Downey Junior is sitting on a BDI or QR Code this code to put in front of the webcam and then download a software page squire can see the actor in action, talking and interacting, as the scenario varies with the position in which position the magazine.
Within the publication there are several items that have the same code words that we will see action in many sections.

Those who do not know or do not know what content will squire, is a publication "for men" with more items, more music, original design, more brains and less boobs of which we are accustomed magazines as Don Juan in Colombia, which is a mixture and squire playboy.

No more to add for now I leave you with a video demonstration of what the codes QR Code in a printed magazine.

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Creating a video idea

By Sandra Garcia.

One idea, any idea is not something that arises spontaneously, so that our ideas take shape and contextualize must have resources to feed and nourish the problem.

define "problem" in design, particularly in graphics, as a set of concerns is our customer, product or design, have not been satisfactorily addressed or presented as an opportunity for improvement, change and innovation. It is clear that our problem resolves itself, needs to be fed information to the designer to provide answers to the questions that arise in the development of the project.

An example might be the cover of a magazine, to start the project we require to know all the variables surrounding this particular journal>
Who is our target? Youth, teens, adults? What are layers comprising
?
It gondola or subscription?
How is the treatment of the cover image?

These drawbacks should be coolly analyzed regarding concepts such as rhythm, hierarchy, visual weight, color (for contrast, complementary, monochrome, tonal scales) among others.
Such concepts are the basis for the design of any room and allow the designer to have criteria against the distribution of the objects that make up the design (images, typography, color).

While consistent training through observation and design of parts is fundamental for the creation and growth as a designer and integrated approach, I must be incisive in which there is a marked lack of commitment and thorough study of such knowledge, little by little, the study has increasingly become poor video sessions and presentations beam tolerances that are passed from teacher to student without the recipient of such files deeper into the data received in class.

Returning to the subject matter, the issue of creation of an original idea requires serious investigation of the problem, trying to twist their problem, getting out of the paradigm and above all trying not to repeat formulas archaic and redundant. Although it seems an easy answer to the problem, is itself a statement that calls not to keep things as they are presented in the client but to an unrelenting pursuit of one's inner voice of the designer, this does not mean that the designer is an artist There is a thin red line where the concept and the criteria used by the designer is becoming even artistic, but always looking for clear communication of the message.
initiate the development of the design concept without analysis, pending the miraculous appearance of the idea, that idea comes from nothing can cause great frustration, and that good ideas not reach the absolute vacuum. It is very difficult to design a design within the parameters of chance.
no magic formulas for solving design problems, but if there are ways to find answers.
apart is important here to note that taking the designer resources at his disposal beyond the technology, remember that the design tool is the computer, but your mind. The bottom line is that the designer uses the techniques he learned in time, to name a few, collage, illustration, graphic techniques, charcoal and others. Out of the technological paradigm has increasingly become a great resource used by today's designers, tired of seeing, how the designs are repeated over and over and over again, because they have all chosen to reuse the resources that are shared on the network homogenizing biased design and poor replicas ranging from Japan to Argentina.

Finally it is important to present a final tip "More is not better" desktop publishing is very important in the design process, knowing when to stop, watch and edit, removing a bit here and a little there and so recognize that design problem should be solved with hard objects without exaggeration, the use of technological resources and not replace decorative design well thought out including the use of the techniques needed for effective communication.