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From Wikipedia: the Giants of Monti Prama are ancient stone sculptures created by the Nuraghic civilization of Sardinia, Italy. Fragmented into numerous pieces, they were found by accident in march 1974, in farmland near Monti Prama, in the Comune of Cabras, province of Oristano, in central-western Sardinia. The statues are carved in local sandstone and their height varies between 2 and 2.5 meters. This label I did in 2015 for Accademia Olearia – one fo my oldest clients, whom I did the company logo and, with Roberto Boassa, the naming – refreshes the first label I designed many years ago, a very typographic label with the word OLIO (olive oil in italian) which formed a smiling face. Now the shape of the bottle offered me a new opportunity to dedicate this exceptional olive oil to one of the most important cultural heritage of the island.

gran-riserva bbbb-e1470317170183Monte-Prama

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DON KIM 2b

Here it is, finally: my first typographic rugs. It is the completion of a research work of years, as evidenced by the pages of this site. The experimental test. I have baptized them with “Tavoletti” because they have something to pay to Eugenio Tavolara and Alighiero Boetti (and because of the sardinian term “tauleddas”, tavolette in italian, which designates the small Sardinian tapestries). They maintain the geometric rigor, the recursive counterpoint typical of the Sardinian textile tradition, but add to the typographical element, which introduces a further level of reading, surprise and customization. They are the product of an algebra in which element matrices are subjected to inversion, rotation, symmetry, overlay, etc. to form the ornament. A graphic that can be used in its serial abstraction and, at the same time, a typography that can be read and understood.

They were made by Maria Antonia Urru for two couples, Luisella and Michele, Riccardo and Annalisa (highlighted in yellow and magenta in the third picture), to whom they were given by my friend architect Marco Tradori, who commissioned me. In the first one, Luisella / Michele, the composition is perfectly symmetrical, on two orthogonal axes. In the second, Annalisa / Riccardo, there is also an overlapping of the two names, which generates new geometric motifs. For the moment they are almost monochromatic, but the next (which will be realized shortly) will play with colors and size scale.

[ Eccoli, finalmente: i miei primi tappeti tipografici. È il coronamento di un lavoro di ricerca di anni, testimoniato dalle pagine di questo sito. L’evidenza sperimentale. Li ho battezzati Tavoletti, perché devono qualcosa sia a Eugenio Tavolara che ad Alighiero Boetti (e per assonanza con il termine “tauleddas”, tavolette, che designa i piccoli arazzi sardi). Mantengono il rigore geometrico, il contrappunto ricorsivo tipico della tradizione tessile della Sardegna, ma aggiungono l’elemento tipografico, che introduce un ulteriore livello di lettura, sorpresa e personalizzazione. Sono il prodotto di un’algebra in cui le matrici degli elementi vengono sottoposte a processi di inversione, rotazione, simmetria, sovrapposizione, etc. che vanno a formare l’ornamento. Una grafica fruibile nella sua astrazione seriale e, allo stesso tempo, una tipografia che può essere compresa e letta.

Sono stati realizzati da Maria Antonia Urru per due coppie, Luisella e Michele (evidenziati nella terza immagine), Riccardo e Annalisa, a cui sono stati regalati dall’amico architetto Marco Tradori, che me li ha commissionati. Nel primo la composizione è perfettamente simmetrica, su due assi. Nella seconda c’è anche una fascia di sovrapposizione dei due nomi, che genera nuovi motivi geometrici. Per il momento sono quasi monocromatici, ma i prossimi (che verranno realizzati a breve) giocheranno con i colori e con i passaggi di scala. ]

luisella micheleannalisa michele 2evid arazzo tipografico luisella michele 1riccardo annalisariccardo annalisa 2riccardo annalisa PER TELAIO c

 

CagliariPaesaggio is an International Festival on Landscape. It takes place in Cagliari, a Mediterranean city where the presence of man lives with a powerful nature since at least three thousand years. I have designed a pattern of flamingos, which in Cagliari have their home and which testify to the symbiosis between the built and the natural environment. The 45-degree plot remembers their flights in formation but also the three-dimensional architecture. The colours are shades of pink red and grey blue: on the one hand it recalls the heraldic colors of the city, on the other the color of the salty lagoon and shadow of flamingos flying over the water.

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My father, a civil servant (and a great hunter). * 4.4.1934  Ω 25.5.2017

Past Future is an exhibition (opening during next Triennale Design Week, April 4-9) which tells the story of one hundred years of handicraft, following the common thread of  weaving; the juxtaposition of objects from various eras reveals their surprising affinities and their profound connection to the Sardinian culture and environment. Sardinian handicraft was renovated during the Fifties through the action of the I.S.O.L.A. (Sardinian Institute for the Organization of Handicraft), a regional agency whose mission included artifacts’ redesign, artisans’ training, manufacturing and sale of products. A forward-looking institution in its own time, led by the designer and artist Eugenio Tavolara,  I.S.O.L.A. organised biennial exhibitions that attracted visitors and buyers from all over the world. I.S.O.L.A.’s example inspired several recent projects, among which is DOMO (Compasso d’Oro 2011), which enlisted more than thirty designers and sixty workshops, pointing at new possible scenarios for craft design. In the wake of I.S.O.L.A., the best contemporary craft practitioners interpret in new forms the spirit of an ancient culture. The exhibition has been curated by Giuliana Altea and Roberta Morittu. Exhibition design: Alessandro Floris; graphic design: Stefano Asili; multimedia project: Chiara Ligi; multiscreen installation: Nicolò Ceccarelli and Laboratorio AnimazioneDesign.

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My friend Tore Ligios, great photographer and generous and enthusiastic organizer of cultural events, has recently produced an exhibition of contemporary images of Sardinia. He invited me and some other graphic designer to design an invented advertising page for the catalog. I chose to advertise the grapefruit jam that I produce in December, in very small quantities. I usually make about twenty jars, a Christmas gift to my friends. I named it Abbastanza Buona (Good Enough), because yes, it’s good, but I decided to keep a low profile. Maybe this year I will launch the top line that – forgetting the understatement – I’m going to name Piuttosto Buona (Pretty Good).

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