DESIGN
HOX GIANLUCA
VOX
MISSERO
DETAILS 2011-2013
The Sound of Apskaft • Avantgarde Collective/Netlbel magazine.
PUBLISHING • MUSIC
2011
PACKAGING
2010
INDUSTRIAL DESIGN
2007
PUBLISHING • FASHION
2006
WEB DESIGN
Packaging for solar panel contracts and manuals.
Design of a toy drum.
Pagination of VicenzaOro - International Jewellery Show magazines.
Web design, mostly for Italian TV personalities.
2002-2005
Illustration and design for gift paper and bags.
2002
Design of an anemometer, a control unit and its remote control.
1999-2001
Websites for campings and companies in search of a joyful - or even funny! - image.
GIFT WRAP
INDUSTRIAL DESIGN
WEB DESIGN
1990
ICON / MAP DESIGN
1989
LOGO DESIGN
1987
PUBLISHING • MEDICAL
Foldable depliants for a ship company.
Corporate branding and publishing.
First aid manual for Venice’s ULSS 16, local National Health unit.
SUMMARY D E C E M B E R
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APSKAFTERS THE
OFFICIAL
NEW RELEASES THE WRECK UP SCALVAG QTTO
SOUND
OF
APSKAFT
M AG AZI NE
APSKAFT RELEASES
PETER-DAVID SMITH TRAVIS JOHNSON
MONKEY COMIX EMPIRE COLLAPSE by Hox APINAN RAVIOLIA by Tuomas Kärkkäinen MONDAY 6PM by Malabi MIND BODY SOUL COMICS - pt. 2 by Peter-David Smith
The Sound of Apskaft ............................................................................................................................... 4
musique concrETE Two different teams: one creates sounds, the other assembles them in tracks, then exchange roles
HOTSAM SPECULATIVISM
Apskafters
APSKAFT CLASSICS AIRLESS PROJECT Avantlandscapes from Macedonia
INTERVIEWS JASON KAVANAGH Itsu Jitsu mastermind
EasyGreen
TotalGroup ................................................................................................................................................... 10
Foam Rock
G!Kewl ........................................................................................................................................................... 14
Vioro and Good Morning Jewellery
Pentastudio ................................................................................................................................................ 22
Websites
Mediastar ................................................................................................................................................... 34
Gift wrap
New Filcas of America ........................................................................................................................... 38
Automation devices
Fitem ............................................................................................................................................................. 52
Websites, depliants
Studio Informatica • NetStudio ......................................................................................................... 60
Routes and maps
Adriatica ..................................................................................................................................................... 68
Logo and books
IRE .................................................................................................................................................................. 78
Primo Soccorso
ULSS 16 ......................................................................................................................................................... 82
APSKA 4
AFTERS 5
6
The Sound of Apskaft is a collective of DIY avant-garde artists from all over the world, founded in 2007 by Jonas Lind. I started to cooperate with them in 2009 and have been the group leader from 2011 to 2013. We made great collective records, some videoclips and a great project: a new soundtrack for Eisenstein’s Battleship Potemkin. Furthermore, I cured the design of Apskaft’s Last.FM group page (see a part of it in the pic above), and the collective’s magazine, APSKAFTERS. Making the graphics for Last.FM page was a nightmare, because I had to format it in BB Code instead of html, and rely on a lot of tricks to achieve something decent with a set of commands that’s miserable in confrontation even with the most ancient html. With the magazine things were way better, I paginated it with InDesign and the guys in Askaft were quite collaborative to feed pictures, take part in interviews, send writings, illustrations and comics. It went on for 6 issues, first three came out monthly (November 2011 - December 2011 - January 2012) then restarded with #4 in November 2012, #5 December 2012, #6 in January 2013. At that point, not only the magazine but sadly the whole collective stopped any activity. In June 2013 there was an attempt to restart, we made last record Apskaft Presents: Volume 4, and then the Netlabel-collective The Sound of Apskaft went on hiatus. APSKAFTERS is still available on Issuu, by clicking on these covers. N O V E M B E R
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D E C E M B E R
APSKAFTERS OFFI CI A L
NEW RELEASES SPECULATIVISM JASON KAVANAGH RES BAND THE ACOUSMATICS DUB DK FYDHWS BC_RANGER THE BLASTED MUFFINS TURBOGRIND TERRORIZERS FEA HOX VOX TRäDGåRDSTOMTARN AIRLESS PROJECT
THE
SOUND
OF
APSKAFT
SIKO RECORDS
INTERVIEWS
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APSKAFTERS
MA GAZINE
THE
O FFICIAL
SOUND
OF
APSKAFT
MA GA Z I N E
APSKAFT RELEASES NEW RELEASES
CHINESE WHISPERS First participant made a track, then sent it to the next one, who made an interpretation of it and sent the result to the next one...
THE WRECK UP SCALVAG QTTO
APSKAFT CLASSICS
APSKAFT RELEASES musique concrETE Two different teams: one creates sounds, the other assembles them in tracks, then exchange roles
HOTSAM
Awaycaboose - tHE bOY wITH tHE tHREEFOLD mIND by fydwhs
SPECULATIVISM PETER-DAVID SMITH
MONKEY TALES
TRAVIS JOHNSON
THE INFINITE SURFACE by Peter-David Smith
NETLABELS
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MONKEY COMIX
MONKEY COMIX
APINAN RAVIOLIA by Tuomas Kärkkäinen MIND BODY SOUL COMICS by Peter-David Smith
EMPIRE COLLAPSE by Hox APINAN RAVIOLIA by Tuomas Kärkkäinen MONDAY 6PM by Malabi MIND BODY SOUL COMICS - pt. 2 by Peter-David Smith
JONAS LIND Founder of The Sound of Apskaft
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APSKAFT CLASSICS AIRLESS PROJECT Avantlandscapes from Macedonia
INTERVIEWS JASON KAVANAGH Itsu Jitsu mastermind
J A N U A R Y
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N O V E M B E R
APSKAFTERS T HE
OFF IC IA L
SOUND
OF
APSKAFT
2 0 1 2
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4
APSKAFTERS
MA GAZINE
THE
SPECIAL ISSUE!
O FFICIAL
SOUND
OF
APSKAFT
MA GA Z I N E
APSKAFT 5th ANNIVERSARY! REVIEWS OF ANNIVERSARY RECORD, THEY MIGHT BE GIANTS TRIBUTE and NON-COMMERCIAL ALBUM
EVERYTHING ABOUT THE MAKING OF...
NEW APSKAFTERS RELEASES IBALAM * JOHN THE FOX & A.K.A. LURHOLM * RES BAND * NICK BLESSING * PETER-DAVID SMITH * FYDHWS * HOX VOX * TRÄDGÅRDSTOMTARNA * TURBOGRIND TERRORIZERS * AER 20-200 *
MONKEY COMIX EMPIRE COLLAPSE by Gianluca Missero * APINAN RAVIOLIA by Tuomas Kärkkäinen BIG-TEETH THE MISUNDERSTOOD EMPEROR OF NIGHTMARES / RELATIVES, MAN by Malabi
D I C E M B E R
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J A N U A R Y
APSKAFTERS T HE
OFF IC IA L
SOUND
OF
APSKAFT
2 0 1 3
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n .
6
APSKAFTERS
MA GAZINE
THE
O FFICIAL
SOUND
OF
APSKAFT
MA GA Z I N E
APSKAFT PRESENTS: COUNTRYWIDE CANTICLES
APSKAFT PRESENTS: THE DARK SIDE OF THE MONKEY APSKAFT MUSICIANS REPLAY THE GREAT PINK FLOYD ALBUM
Small collection of national anthems replayed by Apskaft musicians
APSKAFT PRESENTS: POEMS & FAIRY TALES WE TOOK PIECE OF LITERATURE AND MADE 2 RECORDS OUT OF ‘EM
NEW APSKAFTERS RELEASES
APSKAFT PRESENTS: FOLK
HOX VOX * R.U.D.E * PARITON * EMMANUEL LORIEN SPINELLI
Yeah, something about folk
MONKEY COMIX
MONKEY COMIX
APINAN RAVIOLIA by Tuomas Kärkkäinen THE OBSERVER by Gianluca Missero
EMPIRE COLLAPSE by Gianluca Missero * APINAN RAVIOLIA by Tuomas Kärkkäinen
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NEW APSKAFTERS RELEASES CARLO BARBAGALLO HOX VOX
9
EASYG 10
GREEN 11
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TotalGroup was a subsidiary of ENEL Green Power, I worked there in 2011. I made a lot of websites, manuals, contracts, advertising. I also had the opportunity to make some packaging for solar panel install contract/ user manuals/brochures. I created in Photoshop a script that automatically rebuilded the package starting from a given pagination scheme. After the agreement on the curious shape, with this script I created on the fly a great number of variations until we found the right design. On the left there is the presentation of the whole set of packaging. Bottom of this page, the final design. We decided to avoid using red as icon color for EasyGreen NET, because it’s a colour tied to the concept of danger, or the stop at a semaphore, two bad signals for customers. So we went for a blue; also, they wanted to split BASIC and PLUS from the other more expensive contracts, and make their imagine a little less perky, so to push the customers toward ALLRISKS and NET. I substituted the roof and cloudy sky with a picture of plain industrial solar panels, and a sky having no clouds.
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g!ke
FOAM 14
ewl
ROCK 15
One day Jordan of G!Kewl asked me if I would make the design of a toy drumset. Of course I accepted, so he gave me the dimension of the object, material and hardware/softare used. I had to design a drumset with 4 pads, there were two small speakers to add (yes it was also stereo) and a little panel to switch sounds (one could make a drumset with 4 toms (!), or one tom, two snare and a bass drum... any combination). I started to make many hypotesis and search for functional, but same time cool, solutions. For first I was quite far from the aim: the functionality were ok, I even found many ways to keep the sticks together with the drumset, but they were UGLY. At a certain point I remembered that I had to make it in a way right and left handed could use it without problems. I understood I had to make a symmetric shape, so I decided to use only circles. I put the bass drum, bigger, in the center, the other 3 pads above it, and the two speakers right before first and after last pad, aligned with the bass drum diameter. The “body� of the drumset?, another circle. I extruded these circles and the drumset was ready. I made also a Flash app where you could play the drumset, so G!Kewl’s sellers could show it to their customers (big chain of merchandising shops/malls) and make them understand exactly what was that. I made 9 different skin for the drumset, one is up here, the other 8 after the sketches page.
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Oh, I forgot to say I made G!Kewl logo (inspired by Grateful Dead logo).
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VIO
VIORO • GOOD MOR 22
ORO
RNING JEWELLERY! 23
In 2007 I worked as designer at Pentastudio, publishing house of Vioro and Good Morning Jewelry!, two magazines by VICENZAORO - International Jewellery Show. The two pics are in real size, Vioro is a little bigger than an A4 (cm 21,5x31,5), Good Morning Jewelry! is a pocket (cm 15x21). The job was an analysis of the product with the copywriter, then make cut-outs of jewels, choose a proper model/ background and assemble the elements in a fashion way, where elegance - in this case - is not exactly meant as the Bauhaus intended to create graphic design, but rather an in-your-face display of power and richness as you can see in next pages.
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WEBS 34
SITES 35
In 2006 after coming back from USA I found a job as Flash Web Designer at Mediastar/Medialine, a web agency in Mira (Venice - Italy). The greatest thing was my three colleagues had all a GREAT sense of humour. Big fun all day long, and we often met after a work day - or at midday pause - to eat and make more jokes together. We made in one year about 100 websites, I just put these nine to understand every day we could do any kind of web image, from baroque to luxury through dog food or mortgage loans. Needless to say this fact added more inputs to our daily cabaret. Funniest work mates ever!
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It’s interesting to analyze websites made ten years ago (I’m writing in 2016) and see some past boundaries that now make no sense. For instance, the will to keep in a single screen, with no scroll, all the informations, which is kind of archaic now. Or the choice to put the menu bar on the left, vertically, which I didn’t follow much. Sadly on a pdf you cannot notice all these websites are made in Flash and animated, usually at every click there was a transition, the whole page’s structure shifted to another new structure - always in the need to keep every information within the screen... and I’m not sure it was a bad idea, thinking to present-day smartphones.
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GIFT W 38
WRAP 39
I was employed as designer from 2002 to 2005 in New Filcas of America, a gift wrap company in Reidsville, NC. We served the great US malls like Walmart, Target, Four Season or the sleek Macy in NY; also Europe and Asia, but the greatest amount of sold stocks was in USA. It was a great experience in a well organized large company, I had the opportunity to check american consumers’ taste and learned to adapt my style to it, we experimented with many different paper (included a magnificent rough indian hand made paper already coloured with abstract forms and spots) and print techniques I never used before, like the UV. I learned a LOT of new things in entrepreneurship, design, printing and how to tame the company’s sellers :-) On the right, a few brief paintings with tempera colors on office paper and cardboard of Santa Claus and sketches of bizarre Xmas paper bags. In next pages a few pics of gift bags and paper.
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AUTOMATIO 52
ON DEVICES 53
Fitem was one of the best clients of Netstudio Company, my IT/Multimedia firm; I made for them website, 3D animations for TV ads, catalogue (digital - on CD and into their website - and printed), and after I left my company some industrial design for an anemometer, a remote control and Meteomatic, a control unit for their automatic control systems for roller shutters, awnings and interior blinds. These are only 8 of the dozens pages of sketches I made to satisfy this client. At the end of this chapter there’s the 3D image of the final anemometer.
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WEBS 60
COMPANY
STUDIO
SITES 61
I made both logos you have seen in former 2 pages for Studio Informatica - when I was their designer in end 90s - and Netstudio Company, the IT/ Multimedia company I founded in Y2K with an ex-Studio Informatica associate (Tonin) and another entrepreneur into camping business in Jesolo, near Venice (Vianello). Due to the latter element I made a lot of camping websites, and I’ll put a few pics of them in next pages, but the most peculiar website was for Perusi, a company in fruit and vegetables trade. They wanted something different, bleeding edge and playful. I decided to make it fully in Flash, to achieve fades from a section to another, and animation everywhere. The main character, made of vegetables - vaguely à la Archimboldi - walks in every time the visitor enter another page.
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Also buttons are animated on rollover and click, so they are the trend graphs or sales market map; in the fairs page two hands flips the pictures (see the pic in the middle); in The Company • History I made sort of documentary with little animations in text and objects, like the truck passing in the picture up here. They also wanted an animated ad for TV or fairs, the one on the left, to promote Cipolle dello Chef (Chef’s Onions), and I obviously inserted it into the website as well, available through an icon in the upper right corner. The last big work was making a huge database of their products in text format - due to a Flash feature, it was easier than interfacing with a normal DB - and organized it like a web gallery, when clicking a vegetable thumbnail a pop up came out to show related large picture and info.
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3 examples of holidays websites, from top AdriaCharter, where I made all the routes animated, at every harbour a brief description with picture faded in. Animation also in the “How to reach AdriaCharter” map. The majority of Camping San Francesco’s customers are from north europe, so I made a site builded around a Garda Lake map upside down, as seen when coming from north, with frizzy little ducks at every buttons and animated page icons. Both made in Flash.
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Camping Ca’ Savio had animations as well, but this time in gif format (navigation icons and the tabletennis player or surfer in the pictures above). In 2002 I made 4 single-A4 depliants for Studio Informatica’s camping management systems, so the sellers could bring them to customers and the company at fairs. I put them all in next two pages, together with a fair cartel pre-press test and a pic of their systems.
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SOLUZIONI PER IL TURISMO
SOLUZIONI PER IL TURISMO
IL SOFTWARE
IL SOFTWARE
Un package progettato e realizzato per le strutture turistiche ricettive all’aria aperta. E’ il nucleo principale di una gamma di prodotti in continua evoluzione.
Un package progettato e realizzato per villaggi turistici, hotel, campeggi, residences. E’ il nucleo principale di una gamma di prodotti in continua evoluzione.
PER L’AZIENDA TURISTICA RICETTIVA
PER CAMPEGGI E VILLAGGI TURISTICI
Prenotazione e pagamento on-line. Holiday Graf è ideale per strutture di ogni dimensione: dal piccolo campeggio alla grande organizzazione. E’ disponibile in modalità monoutente e multiutente. Si possono progettare configurazioni di grandi dimensioni in reti locali e remote. E’ multi-aziendale. E’ configurabile per organizzare il servizio di booking-center per un numero illimitato di strutture ricettive o dove vi siano da gestire più realtà (campeggio + residence + albergo, etc.). E’ completato con il modulo HolyWeb: la prenotazione ed il pagamento in Internet.
studio
Prenotazione e pagamento on-line.
Intuitivo e veloce da apprendere è congeniale a tutte le strutture che hanno un turnover elevato di personale da dover istruire. Assolve con facilità e precisione a tutti gli obblighi di registrazione e comunicazione dei dati agli enti pubblici.
Holiday Graf è ideale per strutture di ogni dimensione: dal piccolo albergo stagionale alla grande organizzazione turistica. E’ disponibile in modalità monoutente e multiutente. Si possono progettare configurazioni di grandi domensioni in reti locali e remote. E’ multi-aziendale. E’ configurabile per organizzare il servizio di booking-center per un numero illimitato di strutture ricettive o dove vi siano da gestire più realtà (hotel + residence + campeggio, etc.). E’ completato con il modulo HolyWeb: la prenotazione ed il pagamento in Internet.
Permette di organizzare il lavoro in modo estremamente flessibile con collegamenti remoti o direttamente su Internet. Le varie mansioni possono quindi essere svolte da operatori dislocati in posti geograficamente distinti.
informatica
studio
Intuitivo e veloce da apprendere è congeniale a tutte le strutture che hanno un turnover elevato di personale da dover istruire. Assolve con facilità e precisione a tutti gli obblighi di registrazione e comunicazione dei dati agli enti pubblici. Permette di organizzare il lavoro in modo estremamente flessibile con collegamenti remoti o direttamente su Internet. Le varie mansioni possono quindi essere svoite da operatori dislocati in posti geograficamente distinti.
informatica
SOLUZIONI PER IL TURISMO SOLUZIONI PER IL TURISMO
CONTROLLO ACCESSI PER CAMPEGGI • CAMPER SERVICE • RESIDENCES
HOLYWEB
E' un sistema di controllo automatico degli accessi espressamente progettato e realizzato per i campeggi, i villaggi turistici, i camper service ed i residences
PRENOTAZIONE E PAGAMENTO IN INTERNET HOLYWEB è il sistema di gestione delle prenotazioni in Internet. La disponibilità delle risorse, la prenotazione ed il pagamento sono effettuati on line dal sito della struttura turistica.
Analizzando i comportamenti del turista è emersa una fascia di mercato sempre più numerosa che usa internet per organizzare la propria vacanza. Sceglie la struttura, confronta i prezzi, prenota e paga sempre su Internet perchè è un mezzo diretto, veloce, automatico ed economico. Da questa premessa è nato HOLYWEB con il duplice obiettivo di offrire un servizio sicuramente gradito alla propria clientela e raggiungere un numero sempre maggiore di utenti per vendere più risorse riducendo i costi di promozione e di vendita.
studio
Stazioni di lettura tessere sono collegate ad un personal computer ed ognuna comanda un meccanismo di accesso (sbarre automobilistiche, tornelli passa-persone, porte, etc). Un personal computer su cui è installato il software GATES "amministra" tutte le funzioni ed effettua tutti i controlli. E' sempre attivo un monitor di sistema che permette di conoscere in tempo reale ciò che sta avvenendo in tutto l'impianto. E' così possibile effettuare controlli ed erogare servizi in modo automatico e preciso.
Attraverso internet con HOLYWEB l’esercente pubblica su Web i prezzi e le disponibilità di risorse in ogni periodo. Egli può modificare quando e come lo riterrà opportuno i dati inseriti oppure, con il collegamento al sistema gestionale, potrà far aggiornare automaticamente la disponibilità. L’utente remoto prenoterà come se si trovasse effettivamente in contatto diretto con la struttura. L’elaborazione delle prenotazioni ed il ricevimento delle caparre saranno operazioni estremamente veloci e precise.
informatica
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studio
Una stampante specializzata genera le tessere contenenti i dati informativi e il bar-code. Le tessere vengono stampate, attivate, vendute (Es. tessere a punti per l'accesso alla palestra), disattivate (subito o dopo un certo tempo). Si possono stabilire gli orari di funzionamento degli impanti. Di ogni tessera possiamo conoscere lo "status" e visualizzare o stampare tutta la "storia": una sorta di estratto conto dei suoi movimenti.
informatica
C
11 0 Tue Feb
pannello.FH1
12:04:58
2003
M
Y
CM
MY
CY CMY
K
Pagina 1
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ROUTES A 68
AND MAPS 69
Adriatica di Navigazione during 90’s was the biggest ship company in Mediterranean routes, both in passengers and RO-RO entrepreneurship segments. Roll-on/roll-off (RORO or ro-ro) ships are vessels designed to carry wheeled cargo, such as cars, trucks, semi-trailer trucks, trailers, and railroad cars, that are driven on and off the ship on their own wheels or using a platform vehicle, such as a self-propelled modular transporter. This is in contrast to lift-on/lift-off (LoLo) vessels, which use a crane to load and unload cargo. RORO vessels have either built-in or shore-based ramps that allow the cargo to be efficiently rolled on and off the vessel when in port. While smaller ferries that operate across rivers and other short distances often have built-in ramps, the term RORO is generally reserved for large oceangoing vessels. The ramps and doors may be located in stern, bow or sides, or any combination thereof.
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The big folding guide to Adriatica’s routes and other info related to destinations, regulations and timetables. Photo up, the side where you found harbour maps with tons of info and the general map, plus the cover and backcover. Photo down, the timetables/info side.
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In the pic above there’s the original panel of car icon for the foldable depliants and an Adriatica’s animated advertising. Car is a cut-out from a Fabriano A4 sheet, glued to a black carton. Note: I cut the wheels squared, then I “rounded” them with black ink. Below: Egitto Express, a cruising ship in Adriatica fleet.
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This is a detail of the general map. I made it on a lightable. The base - unmovable - layer was a graph transparent paper; above that, I put a series of tracing paper layers. First layer was the nations’ borders I designed with my faithful Rotring 0.2, second the white roads, traced with a felt tip, third was the green highways, made with typographic strips (same technique I used in Primo Soccorso), fourth the white line in the middle of highways, again with Rotring, fifth the positions of city and nation names, road numbers, circles. Then I sent the tracing papers to the typography with instructions on colors, font and backgrounds. Job done. Sounds a piece of cake, but I spent a lot of time swearing and deleting ink errors with the trimming knife.
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This double page is about the huge amount of icons we had to create for this project. I didn’t count them but I believe they’re more than 200. That was an incredible work on this subject right five years before the World Wide Web started, and don’t think I have to spend time to speak about the fundamental role of icons in WWW. I made a lot of websites and that past experience in creating icons became useful in every single web job I was assigned to. Not only; it was a gym to enforce the skill in creating an harmonic design. Whatever the area, web, industrial design, publishing, animation, illustration, painting, always it was SO useful remember how I got rid of those issues when I met critical situations. Back to the topic, making icons is a work of balance. Of course all the icons must be homogeneous; just think to Olympic Games’ sport icons, you’ll never find a design contradiction into them, the strict rule to build them is always respected. The greatest suffer was indeed finding a way to make any icon NATURALLY FIT - I mean, without any stretch - into the general scheme. But the real fun is when you find yourself in a concept that’s honestly impossible to represent in that bloody cage you yourself created. And suddenly you totally change the subject, finding another different way.
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LOGO & 78
BOOKS 79
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At Studio Prandi we made a few design and pagination for IRE - Istituzioni di Ricovero e di Educazione (Institutions of Recovery and Education, an association that owns and manage a series of small almshouses in Venice). On the left their catalogue, down in this page there’s their logo. Being an institution working with elder people, they wanted an image quite traditional, so we used an elegant and antique Bauer Bodoni, created an interlock with the text part, to give it a few frizzy personality (OK making an antique design, but we didn’t want a boringly serious result), and a symbol, which is a stylized reproduction of Scala Contarini (see picture on the left), a famous Venetian palace proudly owned by IRE. I made the Scala drawing with set square, compass and Rotring on a Scheller carton. We used the drawn part of the logo as texture in any catalogue cover we paginated for IRE.
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PRIMO SO 82
OCCORSO 83
First aid manual for Venice’s ULSS 16 (National Health), finished in february 1987 and issued two months after, while I got drafted. In end 80s there were still no high level graphic hardware and software: Apple’s top was the Mac Plus, first decent vector graphics software Aldus Freehand came out with his 1.0 release in 1988. Both me and the Art Director Prandi wanted a very clean, icon-style approach. I tried with curve tools, ruler and Rotring, but images were very clean, too clean... they were rigid. Then we found a solution. I made all the illustrations using typography strips for lines, bending them to obtain curves by a trimming knife; and Ulano film to define colors. We were really satisfied of the result, it looks like a series of vector images made with Illustrator, or Flash. Btw, what a nightmare drawing with gummy strips!
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NOTICE OF RIGHTS
DESIGN was released with a Creative Commons 3.0 nc/nd license (Attribution-NonCommercial-NoDerivs 3.0). You are free to: • Share — copy and redistribute the material in any medium or format • The licensor cannot revoke these freedoms as long as you follow the license terms. Under the following terms: Attribution — You must give appropriate credit, provide a link to the license, and indicate if changes were made. You may do so in any reasonable manner, but not in any way that suggests the licensor endorses you or your use. NonCommercial — You may not use the material for commercial purposes. NoDerivatives — If you remix, transform, or build upon the material, you may not distribute the modified material. No additional restrictions — You may not apply legal terms or technological measures that legally restrict others from doing anything the license permits. Notices: • You do not have to comply with the license for elements of the material in the public domain or where your use is permitted by an applicable exception or limitation. • No warranties are given. The license may not give you all of the permissions necessary for your intended use. For example, other rights such as publicity, privacy, or moral rights may limit how you use the material.
CLICK TO MEET MORE GIANLUCA MISSERO’S ANIMATION, WRITING AND MUSIC ON:
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YOUTUBE MISSERO
YOUTUBE HOX VOX
VIMEO
MININOVA
JAMENDO
BANDCAMP
SOUNDCLOUD
LAST.FM
MYSPACE
DEVIANTART
BEHANCE
DESIGN - A volume of Hox Vox Catalogue First issue: September 14, 2016
HOX
GIANLUCA
VOX
MISSERO
HOX
GIANLUCA
VOX
MISSERO