ʻO De Muros a Marcas Papahana Koho, Puke Noʻeau na Paul Joshua Martinez Calderon he mea lanakila hanohano loa o ka 2025 A' Design Award Keleawe ma ka Māhele Hoʻokūkū Hoʻolālā Hoʻonaʻauao, Mea Kōkua Aʻo a me ʻIke Hoʻomaʻamaʻa.
KeleaweHoʻonaʻauao· 2025
De Muros a Marcas Papahana Koho, Puke Noʻeau
na Paul Joshua Martinez Calderon
Mea Lanakila A' Design Award Keleawe ma ka Māhele Hoʻonaʻauao
Mea Lanakila i Hōʻoia ʻIa
Hōʻoia i ke Kūlana Makana no #167455Ka Hoʻolālā
E Pili Ana iā De Muros a Marcas Papahana Koho, Puke Noʻeau
He papahana koho ma ke kulanui a he puke noʻeau ʻo De Muros a Marcas i hana ʻia e aʻo i nā haumāna noʻeau a hoʻolālā e pili ana i ke kiʻi alanui a me kona hopena i ka hoʻolālā hou. Ua hoʻokumu ʻia ka papahana aʻo me ka kōkua ʻana o nā loea hoʻolālā, a e hoʻopili ana i nā ʻike mōʻaukala a me kēia au, nā papahana hoʻokō a me kahi papahana hopena ma nā pule ʻumikumalima o nā papa. He 32 kenimika a 28 kenimika ka nui o ka puke noʻeau, e hoʻohui ana i nā kiʻi kaha lima i hana ʻia me nā pena ʻalikahora a me nā pena akulika me nā kiʻi kikohoʻe. Aia nā slide a me nā kumu hoʻohālike A4 paʻi hiki ke kōkua i kēlā me kēia papa.
Ka Hoʻomaikai
E Pili Ana i ka A' Design Award Keleawe
Ua lanakila ka hoʻolālā De Muros a Marcas Papahana Koho, Puke Noʻeau i ka A' Design Award Keleawe, he ʻike hoʻohanohano nui loa i hāʻawi ʻia i nā hoʻolālā kūʻokoʻa i ʻike ʻia ma o ka hana noʻeau, ka akamai a me ka makakoho. He mau hana mākaukau a hana noʻeau kupaianaha nā lanakila Keleawe e hōʻoia ana i ka ʻike nui, ka noʻonoʻo a me ka maʻalea o kā lākou poʻe hoʻolālā. Manaʻo ʻia ʻo ka hoʻolālā De Muros a Marcas Papahana Koho, Puke Noʻeau he mea i mahalo nui ʻia, hoʻohiwahiwa ʻia a aloha ʻia, he ʻoihana a hou loa. ʻO kēia hoʻolālā i lanakila i ka A' Design Award Keleawe e hoʻohui ana i nā hana maikaʻi loa o ka hana noʻeau, ka ʻepekema, ka hoʻolālā a me ka ʻenehana, a maikaʻi no kona nānā ʻana i nā kikoʻī. Hoʻokō maikaʻi ka hoʻolālā De Muros a Marcas Papahana Koho, Puke Noʻeau i nā pono, hoʻopā i ka makemake, hoʻohiwahiwa i nā manaʻo a huki i ka makemake e ʻike.
Ma Hope o ka Hoʻolālā
ʻEke Nūhou
Nā hōʻoia, nā lālā hui a me nā kikoʻī ʻenehana i hāʻawi ʻia e ka mea hoʻolālā.
- Nā ʻAno Kūʻokoʻa
- This project aims to educate university students in art and design about street art’s impact on contemporary design. Through the design of an elective course and accompanying artbook, a syllabus was developed and subsequently approved by design professionals. The elective course explores street art’s aesthetic and its potential to address social issues. The syllabus and the artbook includes practical projects, historical and contemporary insights.
- Nā Ana a me ka Hoʻopili
- The art book measures 32 cm in width and 28 cm in length, with various finishes that enhance durability and the quality of the illustrations. The slides and course syllabus are formatted according to the university's standards. The guides and sheets are designed in A4 size to ensure students can easily print them using a standard printer.
- Nā Lepili
- Street Art, Art Book, Design Course, Cathedra, Illustration, Editorial Design, Book Design, Graffiti, University Class
- ʻEnehana Hana
- The project was developed using a variety of design and illustration techniques. It includes hand-drawn illustrations created with alcohol-based markers and acrylic paints, as well as digital illustrations using Procreate and Adobe software.
- Pilikia Hoʻolālā
- The main challenge of this project was demonstrating that street art holds valuable graphic material suitable for study in creative fields, aiming to use it as an effective communication tool for relevant projects. The difficulty lay in convincing professionals that urban art is more than vandalism or visual pollution. The course had to be engaging, with innovative content that students would appreciate and revisit. Graphic materials had to be effective, with a strong visual identity that showcased both design professionalism and street art creativity.
- Noiʻi
- For the development of the project, research was conducted through art books, drawing guides, and various studies and articles about how design and urban art can communicate social or business messages. Additionally, surveys and interviews were carried out with design professionals and students to validate the type of content that should be included for it to be both educational and engaging. Based on the research findings, a model class was created to assess the effectiveness and reception among teachers and university students, identifying strengths and areas for improvement.
- Hoʻoulu Manaʻo
- Growing up in Huancayo, Peru, I initially saw graffiti as vandalism. However, exposure to street art in cities like Lima’s Callao and Barranco changed my perspective. I began experimenting with graffiti at age eleven, which sparked my interest in design. Influenced by American and European street art, I pursued graphic design in university. This led me to create an Art Book, demystifying graffiti's connection to design and it evolved into a successful elective course for my career.
- Ka Lōʻihi o ka Papahana
- The project is designed to last for one regular "Universidad San Ignacio de Loyola" semester, approximately three months. The course is divided into 15 classes, one per week, covering all the content of the course syllabus, including practical exercises and the final project.
- Kaʻina Hana
- The book is designed to support students through various course sessions, acting as a guide that reinforces the instruction provided by the teacher. The slides are presented during class and are available to students at all times on the course's virtual classroom platform. Templates have been created to assist students in the initial steps of each learning session, featuring activities to be completed both in class and at home. All elements work together seamlessly to help students grasp fundamental concepts, promoting effective learning in design and street art.
Kākoʻo ʻIa
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Nā Hoʻolālā Pili
E ʻimi i nā hoʻolālā lanakila hou mai ka māhele like, i koho ʻia ma ka waiwai.