De Muros a Marcas Tlapepenalli Momachtiloni, Tlacuilolamoxtli Toltecayotl ītēchcopa Paul Joshua Martinez Calderon

Tlanāhuatīlli De Muros a Marcas Tlapepenalli Momachtiloni, Tlacuilolamoxtli Toltecayotl ītēchcopa Paul Joshua Martinez Calderon cē cencā mahuizzō tēmacēhualōni īpan huēyi 2025 Mahuizolli A' Design Award Bronse īpan Temachtiloliztli, Temachtilizpalehuilli ihuan Nemachtiloliztlahtolpamitl Tlachihchihualiztli Nēhuilīztli Tlamantli.

BronseTemachtiloliztli· 2025

De Muros a Marcas Tlapepenalli Momachtiloni, Tlacuilolamoxtli Toltecayotl

īpal Paul Joshua Martinez Calderon

Mahuizolli A' Design Award Bronse Tēmacēhualōni īpan Temachtiloliztli Tlamantli

15,473

Tlaneltīlīlli Tēmacēhualōni

Xictlaneltilia Tēmacēhualli ītēchcopa #167455

Xiquitta Tlahcuilōlcalli Xiquitta A' Design Award ītechcopa Āmatl Tēmachiyōtīliztli Tlamachiōtl

Tlapalli

Tlanēxtilistli

Ītechcopa De Muros a Marcas Tlapepenalli Momachtiloni, Tlacuilolamoxtli Toltecayotl

De Muros a Marcas se ce tlapepenalli momachtiloni ipan altepecalmomachtiloyan ihuan tlacuilolamoxtli toltecayotl, mochihchiuhqui inic quinmachtiz temachtiltin toltecayotl ihuan tlayecoyaliztli iyolqui itech in ohtlica toltecayotl ihuan quenin quimotlanextilia in yancuic tlayecoyaliztli. In temachtiliztlanahuatilli omochihchiuh ica tlapalehuiliztli itech tequitiquez tlayecoyanime, ihuan quipia huehcauhcayotl ihuan yancuic tlaixmatiliztli, tequitiliztli tlen monequi ihuan tlami tequitl ipan caxtolli semanatl temachtiliztin. In tlacuilolamoxtli toltecayotl quipia ica 32 cm ihuan 28 cm, ihuan quinamiqui tlacuilolli tlen momachiyotia ica maca-tlapalli (alcohol-based markers) ihuan acrylic tlapalli ica yancuic tlacuilolli tlen mochihua ica computadora. Neztoquiliztli ihuan A4 machiyotl tlen huelis moihcuiloz quipalehuia in cecen temachtiliztli.

Tēixīmachōtiliztli

Ītechcopa Mahuizolli A' Design Award Bronse

De Muros a Marcas Tlapepenalli Momachtiloni, Tlacuilolamoxtli Toltecayotl ca in quicuic in Mahuizolli A' Design Award Bronse, hueyi tlamahuizoliztli tlen momaca in cualli tlachihualli in motenehua ipampa yancuic tlamantli, tlamatiliztli ihuan ixtlamatiliztli. In quicuicah Bronse ca tlachihualli in quipia toltecayotl ihuan quinextia in cenca miac nemiliztli ihuan tlamatiliztli intlachihuanime. Ca quinequi in De Muros a Marcas Tlapepenalli Momachtiloni, Tlacuilolamoxtli Toltecayotl ca tlazohtli tlamantli, mahuiztic ihuan cualli. Ni dizayno in quicuic Bronse quipia cualli toltecayotl ihuan quitta in tlen tepiton. De Muros a Marcas Tlapepenalli Momachtiloni, Tlacuilolamoxtli Toltecayotl quipaquiltia in tlacah ihuan quitlamahuiztiltia in intlanequiliz.

Tlanēxtilistli Ītēixpan

Āmatl Tlanextīliztli

Tlapōhualli, tēquitqueh īwan tēchmachilīztli ōquinmaca in tlanēxtīlīlli.

Cē Zan Ītēchcopa: 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.
Huēyiliztli īhuān Tlacualtepēhualli: 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.
Tōcāitl: Street Art, Art Book, Design Course, Cathedra, Illustration, Editorial Design, Book Design, Graffiti, University Class
Tlachīhualiztli Māchiyōtl: 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.
Tlanāhuatīlli Nētēcahuilīztli: 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.
Tlatēmōliztli: 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.
Tēyōllālīliztli: 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.
Tēquitl Cāhuitl: 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.
Tēquitl Ōhuitl: 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.