ANATOMY OF SHAPE
In order to pursue a theoretical direction applicable in the practice of new visual languages, my aim is to investigate the structural characteristics of the figuration in search of the rules that govern it.
With the growing variety of supports and the constant application of the graphic medium in a reality as subject to images as ours, the need arises to reflect and rationalize the massive production of signs that have emerged in recent times, many of which are already deeply integrated into various cultures that produced them.
In this the pictogram, understood as the sign structure of the logo, can rise to the synthesis of the whole figuration, from which to draw a new possible aesthetic theory on the essence of form. Through the exploration of various types of writing up to rediscovering their essence in the primary geometries, we will see how starting from the material on which the pictogram is modeled it is possible to raise it to the latest avant-garde of post-contemporary figuration.
In this the pictogram, understood as the sign structure of the logo, can rise to the synthesis of the whole figuration, from which to draw a new possible aesthetic theory on the essence of form. Through the exploration of various types of writing up to rediscovering their essence in the primary geometries, we will see how starting from the material on which the pictogram is modeled it is possible to raise it to the latest avant-garde of post-contemporary figuration.
Index
- Question of language
- Visual semiotics
- Isotype
-
Synoptic image
- Essence and narrative
- Structural components
- Types of figuration
- Symbiosis with the medium
- Scalability issues
- Drawing movement
- Principle of association
- Sense archetypes
- Operant symbol
Bibliography
Baroni D., Vitta M. - Storia del design grafico Cirlot J. E. - Dizionario dei simboli Evamy M. - Logo Falcinelli R. - Filosofia del graphic design - Guardare Pensare Progettare Frutiger A. - Segni & Simboli Kandinskij W. - Punto, linea, superficie Missonologia - a cura di Tutino Vercelloni I. Neurath O. - International Picture Language: the first rules of Isotype Novarese A. - Alfa-beta Soravia G. - Storia del linguaggio Thomas L. V. - Antropologia della morte Vartanian O. e X. Shao - Neuroscienze ed architettura, «Nodes - Journal of art and neuroscience» Volli U. - Manuale di semiotica
SUPERVISOR: Leonardo Caffo
Baroni D., Vitta M. - Storia del design grafico Cirlot J. E. - Dizionario dei simboli Evamy M. - Logo Falcinelli R. - Filosofia del graphic design - Guardare Pensare Progettare Frutiger A. - Segni & Simboli Kandinskij W. - Punto, linea, superficie Missonologia - a cura di Tutino Vercelloni I. Neurath O. - International Picture Language: the first rules of Isotype Novarese A. - Alfa-beta Soravia G. - Storia del linguaggio Thomas L. V. - Antropologia della morte Vartanian O. e X. Shao - Neuroscienze ed architettura, «Nodes - Journal of art and neuroscience» Volli U. - Manuale di semiotica
SUPERVISOR: Leonardo Caffo
THE PRACTICE
Unlike the average, the strong conceptual imprint and versatility of a logo designed in the way I do make it more structured both in visual aspects and in those of conceptual solidity.
More effective in communication and more alive in the competitive scenario composed for the most part of 'dead' or rather 'dull' logos (today more than ever in the era of visual movement). All in function of a single purpose: to achieve a clear and compact reality. That stands out from the others and materialises on a figurative level therefore, 'exists'.
All my works are designed as a Logo is designed: once drawn on paper they are transposed onto the computer and finished with anchor points. This helps maintain track quality and playability in all dimensions. I design dynamic systems of coordinated image, in the production of both new signs inspired by natural patterns and in the use of those already existing in Unicode and thus reusable transversally in contemporary communication mechanisms (as can be seen here for a trait d-union the use of the hyphen as a distinctive element, in Studio Loft || the vertical bar and in (𐰱) Madre Natura S.R.L. a glyph in ancient Turkish in brackets).
More effective in communication and more alive in the competitive scenario composed for the most part of 'dead' or rather 'dull' logos (today more than ever in the era of visual movement). All in function of a single purpose: to achieve a clear and compact reality. That stands out from the others and materialises on a figurative level therefore, 'exists'.
All my works are designed as a Logo is designed: once drawn on paper they are transposed onto the computer and finished with anchor points. This helps maintain track quality and playability in all dimensions. I design dynamic systems of coordinated image, in the production of both new signs inspired by natural patterns and in the use of those already existing in Unicode and thus reusable transversally in contemporary communication mechanisms (as can be seen here for a trait d-union the use of the hyphen as a distinctive element, in Studio Loft || the vertical bar and in (𐰱) Madre Natura S.R.L. a glyph in ancient Turkish in brackets).
These practices thus contribute to an economy of creation that makes use of both pre-existing elements borrowed from everyday life and my own personal reinterpretation of things. Mixing and manipulating these elements results in a total flexibility of the Logo system, usable and understandable by anyone and replicable with any kind of technological tool. This together with a graphic identity that starts from the Logo concept and extends to all its declinations: from the website to the editorials, from the care of the photographic aspects to the series of illustrations.
