8 de junho de 2009

Dingbats Brasil

"DINGBATS BRASIL is an exhibition that features the first decade (1996-2006) of Brazil’s production of digital pictorial alphabets – the dingbats – through thirty-five projects by 22 prominent contemporary designers. Curated by Brazilian graphic designer Bruno Porto in 2006 while acting as Coordinator of Illustration Studies for the Visual Arts Institute of Rio de Janeiro’s UniverCidade, the exhibition has traveled South American countries in universities and academic events." Bruno Porto

12 de maio de 2009

From ornaments to patterns

“The art of the designer is expressed in the creation of patterns, that is, of units or groups of units arranged so as to give the eye a sense of deliberate rhythm, either static, as in the case of a simple repeated pattern, or dynamic, as with a form implying natural growth. The fascination of experimenting with combining, reversing, spacing-out and alternating the simplest unit is indescribable.” WARDE, Frederic. "Monotype" Printing Ornaments, Lanston Monotype Corporation Ltd, London, 1928.


Restraint, designed by Marian Bantjes & Ross Mills is an ornament font which happens to contain letterforms.


Whirligig by Zuzana Licko, 1994

"Each Whirligig illustration is composed from a repetition of small elements; some fairly straightforward geometric constructions, others more organic forms which evolved from the process of adjusting the positive and negative space as necessary to balance the element visually within the structure of a particular repetition sequence.

By applying a precise structure of repetition, be it in multiples of two, three, four, six or eight, concentrically or diagonally, these relatively simple elements support each other into units of higher complexity. In turn, the composed units create ever more complex patterns when repeated in various combinations, which can further be composed into macro patterns. This evolution of elements into structures into patterns yields images analogous to those seen when viewing the world through a microscope, telescope, and kaleidoscope.

This collection of 152 Whirligigs contains 126 concentric illustrations, ten sets of symmetrical borders, and six connecting illustrations. Repeating the connecting illustrations creates an interlocked pattern, which serves as an embedding framework when combined alternately with any of the concentric ones.

Since each illustration, as well as the space bar, is the same width, any combination will yield a perfectly aligned block; borders can be composed by typing the appropriate number of space bars to fill out the void in the frame. This, of course, is just a starting point for Whirligig usage; use your imagination to create a virtually endless variety of textures by combining repetitions of different illustrations."

Puzzler by Zuzana Licko, 2005

"With Puzzler, Zuzana Licko revisits and expands upon some of her earlier forays into decoration and geometric constructions of abstract elements.

Says Licko: "I've always been intrigued by patterns; the abstract dot compositions of blown-up halftone photographs, the interference patterns of superimposed grids known as moire, and the shadows of tree leaves on the sidewalk. These were some of the inspirations for the Puzzler patterns."

Some Puzzler elements started as dot grids of various sizes and frequencies, while others started as leaf or floral shapes that were arranged into interlocking compositions. In fact, many came about as happy accidents; some elements looked too random or uninteresting until their repetitions surprised her with unexpectedly fluid patterns.

The elements are arranged into three categories of fonts: Puzzler Halftone, Puzzler Geometric and Puzzler Floral. Each element is accessed through a letter on the keyboard, making it easy to repeat elements with precise scaling and positioning.

These examples show some of the patterns that can be composed with the Puzzler fonts; but the variety is endless."

Dalliance by Frank Heine, 2000

"The additional Flourishes font (Created with inspiration from the 1956 Dover release "Handbook of Early Advertising Art, Typographical Volume." The floral ornaments are based upon the specimens of Wagnerische Buchdruckerei, Ulm, Germany 1765 - 1777, reprinted 1982.) offers a complementary source for enriching texts with ornaments, flowers, rules and lines. The left- and right-hand elements can be easily set in various combinations. Most of these characters can be connected to any Dalliance Script character starting or ending with a link."

21 de abril de 2009


Silhouette fonts by Kaptiza include Manhattan, Dalston, Brick Lane, Liverpool Street, Victoria Park, ... and so on. Not only people but also pets and flowers like Blossomy. Pop and Geometric are good examples of fonts to be used to create patterns, many of which are demonstrated on Geometric book.


Volvox by Andrea Tinnes and Martin Perlbach

"Volvox is a five level ornament composing kit... a system of 5 fonts that create a variety o ornamental composites by superimposing...
Volvox is a celebration of the organic, the ornament and the magic of the animation of inanimate forms."

In 2001 Andrea Tinnes released Volvox, which is a system of 5 fonts to be used isolated or as superimposing structures. Each Volvox has a radial symmetry, same width and centre, so they can overlap perfectly. The illustrations were inspired by ‘natural aesthetics of scientific drawings’. The potential of the multiple combinations, together with variations of size, position and color can be found at www.typecuts.com/volvox.


Deréon dingbats by Typofonderie (Jean François Porchez)

Deréon, designed by Jean François Porchez, created for the fashion brand House of Deréon of Beyoncé Knowels. The curvy set of illustrations was influenced by her music, as the letters. “The idea is to possibly use them to create a sort of pattern on many support as possible via a basic set of elements.” (JFP – by e-mail, 2005) The dingbats were used as separate elements to build an
illustration for a simulation of the fl oor of the store in Paris.