01-TECNO POP TEXTURES VOL. 1


At the beginning of the 2nd millenium when the use of computers in graphic and stylistic projecting became predominant, images were forced to become more rational. The geometries which blossomed in the 50's then returned into vogue. They were a new approach after the death of representational art and now adapt
perfectly to the new rational dimension of digital, animation in TV or mobile phones, symbols used in brandmarks or the new revival of colour after the greys and blacks of the 90's. This new graphical, geometric world can be found in every sort of popular art, from textiles to school products, interior furnishing to design.
The book is made up in 3 parts. The first is a research into the use of elementary forms such as the square, the circle and lines. The second is a world made up of geometric flowers, almost abstract, with regular, symmetrical lines and figures. The third approaches the world of pop art in its symbolical, optical, kinetic and psychedelic implications.
This demonstrates that fantasy and chromatic variety can combine with geometric rationalism, far from the cold and minimalistic world that some think is their true essence.



02-OPTICAL TEXTURES VOL. 1

I wanted to make this book to render homage to an art, Optical Art, to my mind stupendous and elegant. At the same time I wanted to make it more accessible for the many unexplored uses in commerce. Starting from the visual research of a few artists, I have developed new and original ideas and produced 112 modular patterns that can fill spaces to the infinite.
A few words to introduce a modern and suggestive art, its fascination comes from long ago and is the basis of our sight mechanisms.
Optical Art is a mathematically-oriented form of (usually) Abstract art, which uses repetition of simple forms to create vibrating effects, an exaggerated sense of depth, and other visual effects. When the viewer looks at them, the impression is given of movement, flashing and vibration, or alternatively of swelling or warping.
The term first appeared in print in Time Magazine in October 1964, though works which might now be described as "op art" had been produced for several years previously. It has been suggested that Victor Vasarely's 1930s works such as Zebra (1938), which is made up entirely of diagonal black and white stripes curved in a way to give a three-dimensional impression of a seated zebra, should be considered the first works of op art.
In 1965, a show called The Responsive Eye, made up entirely of works of op art, was held in New York City. Op art subsequently became tremendously popular, and op art images were used in a number of commercial contexts. After Vasarely, Bridget Riley is perhaps the best known of the op artists. Taking Vasarely's lead, she made a number of paintings consisting only of black and white lines. At last another artist who developed these themes in the Seventies is Jean Larcher, a French graphic designer, releasing many books for a wide public (expecially for students and artists).

This book is inspired mainly by their works in the hope that it will be useful to creative people.



03-STYLING BOOK VOL. 1

A book, unique of its kind. It is worth a hundred times its price. It deals with characters that have a modern and essential style, absolutely in fashion and highly professional. Each of the characters and designs (in all 600) is vectorial, modifiable and can be used for commercial purposes with no royalties to pay.
In the past I have handled many "Style Guides" of famous characters, developing product collections from them and each time I looked at the richness of their designs and wished to produce one myself, from model sheets with the character in various positions to the patterns and prints to be used on the product.
In this project of mine, which cost years of work, I have tried to maintain stylistic unity while varying the families of characters. I have developed 16 of these families, each one containing: a brand line, a marketing profile for positioning on the market, model sheets, prints and textures.
Also a collection of products for each brand and character with its own look which I think will be useful.
The whole of these 16 original and professional collections with hundreds of different products is of high professional and economic value.
The creative people who buy the book can also easily modify the characters and designs, making them their own.
This shows why no other book like this exists and that it is anti-economic and difficult to produce one, but my love for this work draws me to do so and I know that other creative people will appreciate it and ask me to make others.



04-JUNIOR POP TEXTURES VOL.1

A simple and modern style, essential in line, distinguishes these patterns, created for the world of children.
At last, characters and stylisations, in line with the times, nothing old or traditional; the world is full of classical designs and needs a look nearer to today and its rational taste.
200 designs, useful for textile fabrics, clothing and home furniture, wall and gift papers, gadgets and stationery items.
The choice of style is still wide and each design has its own features in sign and form, from the world of animals to flowers: Stylized images of cities, houses or cars, even the world of fantasy; spacecraft, robots, planes, trains, sweets and icecream. Typical icons but seen by an eye watchful of signs of trend because the object of use itself could be a fashion product.
Attention to the world of fashion is definitely one of the main important features of this book, but turning over its pages and looking at the richness of colour and images makes one think that it will remain a classic, a true photograph of the creativity of this moment in time.




05-STYLING BOOK VOL.2


A book, unique of its kind. It is worth a hundred times its price. It deals with characters that have a modern and essential style, absolutely in fashion and highly professional. Each of the characters and designs (in all 533) is vectorial, modifiable and can be used for commercial purposes with no royalties to pay.

Volume 2, continuing this series of "Style Guides" with a new family of characters, comes out after 4 years of work.
Collaboration with Moreno Chisté has been very important. He who comes from the Disney world has renovated his style with the help and under the direction of Vincenzo Sguera, adapting to the new stylistic tendencies.
This book differs from the first volume in that the typology of the characters is more complex, less summary. We have tried to develop the variety of characters more than the graphics, textures or products, concentrating on model sheets which in the whole book are 507. Designs are vectorial and can be modified.
I have received remarks from stylistic studios that use these designs, that with the same high quality and quantity of designs I should have made two books out of each one!
This volume, like the first, is difficult to repeat: I hope it will enrich many creative projects all over the world.




06-NEW AGE TEXTURES VOL. 1

The New Age style which began in the 90's reached its apex, I think, at the end of the 20th century. Hopes for a new millenium inspired by Nature and Man as fundamental points of a new philosophy have permeated not only music but also figurative art of the end of the millenium.
As a designer I posed myself the problem of how to represent this world, full of repetitive patterns that cover objects, landscapes, animals, living structures such as wood, leaves or clouds: textures on textures to infinity can be discovered everywhere.
Every living thing is a source of inspiration and I have decided not to use colour but the images of nature themselves as if I were squeezing them from tubes of paint; pieces or fragments of nature, remounted also in an abstract and informal manner to perceive the essence beyond their scheme and function.
Images ready for commercial use, suitable for the world of textiles, backgrounds for packaging, Internet sites or the layout of magazines and catalogues.
An infinite flow of ideas, directly from Nature.



07-GOTHIC POP TEXTURES VOL. 1

It is not always possible for TASTE to follow a straight road, because it is linked to the social and political situations in which we live.
Man's need to be more introspective, attracted by mysticism and non-rational figures, full of ancient, spiritual meaning, has produced a look ever-present after '68: the "DARK" look which took several roads up to the present time. A gothic look, made up of involutions, forms that are complex, harsh, excessive, lacking colour and very stylized. This "DARK" look has evolved into a NEW LIBERTY, lightening the original heaviness, for example bringing a skull to be associated with a spray of flowers. The gloominess of the times has felt the need to become lighter.
I have synthetizised these stylistic features in "GOTHIC POP" and the books of this series.

Beginning with "GOTHIC POP TEXTURES VOL.1", here the signs, if essential, are intertwined with liberty, but they are also oriental, arabesque, but without frills, just an excuse to depict a flower or a butterfly.
Modernization in embroidery or the decoration of a gate or the rose window of a cathedral. Black and white with one more colour, or a soft colour to give elegance to these designs.
Many designers and stylists have asked me for this sort of image because they were lacking on the market except perhaps in clothing collections, not yet gathered in a book on that theme.
In this book you can find these images suitable for becoming textiles, wallpapers or ceramics, ready for use.




08-GOTHIC POP TEXTURES VOL. 2

It is not always possible for TASTE to follow a straight road, because it is linked to the social and political situations in which we live.
Man's need to be more introspective, attracted by mysticism and non-rational figures, full of ancient, spiritual meaning, has produced a look ever-present after '68: the "DARK" look which took several roads up to the present time. A gothic look, made up of involutions, forms that are complex, harsh, excessive, lacking colour and very stylized. This "DARK" look has evolved into a NEW LIBERTY, lightening the original heaviness, for example bringing a skull to be associated with a spray of flowers. The gloominess of the times has felt the need to become lighter.
I have synthetizised these stylistic features in "GOTHIC POP" and the books of this series

In "Gothic Pop Textures Vol. 2" I have tried to raise the level of disorder and creativity. More varied and less elegant, it is fresh and young for a more aggressive target than the first volume.
The complexity of the icons and geometries made of circles, lines or optical fillings has determined its style, also arrows and stars, hearts and skulls, a whole universe that can sometimes be found in the tattoos that the young and not-so-young love so much. Every texture is chaos in itself where creative people who like to be stimulated and be daring can fish out something, a fragment to use in a project of theirs.
I could say that there has been a jump in time, as if we had travelled into the future, hypothesising a new graphic scenario.
A book where new discoveries can be made on every reading.




09-CHARACTER STYLING VOL. 1 (the Cat)

A "Learn and Use" Book for Stylists, Designers and Art Directors. The objective is to develop new Characters, free to use, at same time it can teach how to create them. This book  is also a Style Guide on 6 new Characters with a theme, the Cat, with 148 Model Sheets and 68 Graphics, vector and bitmap files, ready for production - The use is free with no royalties.

This series of books has an ambitious objective: to develop new characters, free to be used and at the same time to teach how to create them. It is directed both to professional people and to amateurs, students. Publishing for a young target seems to be made more by traditional artists  than designers attentive of up-to-date trends.
It is as if the computer, Internet, Flash animation or other modern techniques did not exist. Many books that teach how to draw characters, animals or people seem to represent the past.
I would like to remedy this with more modern characters by using a synthetic style. Each title develops one theme at a time which in this first volume is the Cat, with different ways of portraying it. It shows how to construct the basic form, the psycological and colouring characteristics.
Each character has a special name and logo and a vast series of MODEL SHEETS  that show how it can move and become animated in various positions. I have added labels, prints, textures, all ready to be used.




10-GOTHIC POP GRAPHICS VOL. 1

It is not always possible for TASTE to follow a straight road, because it is linked to the social and political situations in which we live.
Man's need to be more introspective, attracted by mysticism and non-rational figures, full of ancient, spiritual meaning, has produced a look ever-present after '68: the "DARK" look which took several roads up to the present time. A gothic look, made up of involutions, forms that are complex, harsh, excessive, lacking colour and very stylized. This "DARK" look has evolved into a NEW LIBERTY, lightening the original heaviness, for example bringing a skull to be associated with a spray of flowers. The gloominess of the times has felt the need to become lighter.
I have synthetizised these stylistic features in "GOTHIC POP" and the books of this series.

The graphics in "GOTHIC POP GRAPHICS VOL.1" are decidedly more complex , like a composition that unites different structures; one conceptual, that is the contents determined by images and text, the other decorative, made up of rounded signs, pseudonatural, spirals, leaves, pois, lines and concentric circles. The result is never the same each time, it usually avoids a symmetric geometric structure.
Development occurs by themes dear to the young target of reference:from nature, music, love to sport and pacifism. Here, myth and rhetoric find an ironic tone that sometimes questions itself and proposes never- banal visions. Of course this "Gothic Pop" can sometimes be decorative as in the textures, and sometimes expressive.
These graphics certainly try to be both these things, in informal  equilibrium, slightly "grunge".




11-NATURAL POP TEXTURES VOL. 1

The naturalistic concept passed through all the 90's up to today, ever present in the various emerging styles, whether"New Age", Tecno Pop" or "Gothic Pop".
Many designs developed by me for "Gothic Pop Textures vol 1" were influenced strongly by this concept in their "gothicness" This new series of designs emphasises this concept even more while trying to maintain a cleaner decorative style, with fewer twirls and excesses. The use of tonal colours and simple lines gives the designs a touch of lightness and grace, a breath of natural modernity.
In this way they combine perfectly  with the refined elegance of women's clothing today and can be used in interior design, furniture covering, wall paper, lamps and curtains.
Not always the amalgam of designs in a book succeeds in forming an evident unity, but here it seems to have done so, giving textile and graphic designers a rich and efficient source for using these projects and for developing new ones on the basis they offer.
The elegance, the freshness and simplicity of this book are the distinguishing marks of its modernity.



12-NATURAL POP GRAPHICS VOL. 1

After finishing "Natural Pop Textures vol 1" I felt the need to create designs for prints with the same concept
and if possible the same touch of lightness and grace. Nature offers so much that I had no trouble in finding themes. If at all, the difficulty was in finding the touch I mentioned before., but I can say that this has gone beyond my expectations.
The graphics manage to combine lightness and strength with a special touch, each time. The modernity of the style goes well with the classical spirit of the concept.
These prints can be worn by everyone, young and adult, man and woman and this surprises even me. Perhaps it is due to the colours, never forced, tonal more than contrasting, but without being "romantic". A difficult book to repeat because of the quality expressed.
205 designs as a continuous flow of ideas and considerable chances of commercial use, its reason for being: beautiful graphics for use by all those who love nature and by designers who wish to dip into this sea of ideas to create others.


13-CHARACTER STYLING VOL. 1 (the Bear)

A "Learn and Use" Book for Stylists, Designers and Art Directors. The objective is to develop new Characters, free to use, at same time it can teach how to create them. This book is also a Style Guide on 8 new Characters with a theme, the Bear, with 146 Model Sheets and 76 Graphics, vector and bitmap files, ready for production - The use is free with no royalties.

This series of books has an ambitious objective: to develop new characters, free to be used and at the same time to teach how to create them. It is directed both to professional people and to amateurs, students. Publishing for a young target seems to be made more by traditional artists  than designers attentive of up-to-date trends.
It is as if the computer, Internet, Flash animation or other modern techniques did not exist. Many books that teach how to draw characters, animals or people seem to represent the past.
I would like to remedy this with more modern characters by using a synthetic style. Each title develops one theme at a time which in this first volume is the Cat, with different ways of portraying it. It shows how to construct the basic form, the psycological and colouring characteristics.
Each character has a special name and logo and a vast series of MODEL SHEETS  that show how it can move and become animated in various positions. I have added labels, prints, textures, all ready to be used.




14-BLACK & WHITE MATRIX 1

A Fashion Book made by modular Textures, suitable for Stylists, Designers and Art Directors with a symphony of BLACK and WHITE, unending geometries in a mosiac full of structures as fabrics are. 325 DESIGNS saved in 5 ways - 1625 files in all - the use is free with NO ROYALTIES. 1 Free DVD included for WINDOWS and MAC - Vector and Bitmap Hi-res Files, ready for production.

Black as a starting point, matrix of all colours and forms: from the nothingness of black  to the light of being. The figures described by black have a unique, strong, absolute power; together with white  it  represents the greatest contrasts of life. The eye and mind are enthralled, hypnotized by such beauty, absolute beauty, at the same time as alive and symbolic as Thought.
The sum of all Earth's colours creates black, just as all Sky's hues create white and this bond in a synthesis of contrast creates life. But, further out in the immensity of space, abyssal darkness  swallows all up, all returns to the womb, the nothingness of black, the colour which describes birth and death: a tiny point on the page grows in size, shape and quantity  until it covers both the absolute and nothingness.
Small signs scratch the surface and give it life, movement, colour. Weaves that cover everything in all directions.To capture this spirit in a game of lights and shadows is worth a thousand words.
In this world where uncertainty reigns, where the ambiguity of colour no longer offers dreams to be fulfilled, I feel sure that the need for black and white , in both their decorative aspects and in micro and macro interweaving, is a yearning of the spirit.

Everybody needs the colours of black, or rather of  black and white.



15-MATRIX GRAPHIX 1

This book was born as a graphic corollary to the geometric and figurative textures which are part of the project "BLACK & WHITE MATRIX", as matrix of necessity unique, essential and in black and white.
Strong and powerful, each graphic explores the possibilities of black and white, freed from superfluity, chromatic and psychological. But, like any child can escape from a parent's hand and take unpredictable roads, the colour discarded in the initial project began to surface, at first with a light touch, then with fuller and more decisive tones.
The spirit of the time and the memory of the fizzy 80's have produced a miracle of sorts: a synthetical look but with one colour for each graphic, on a background often in contrast. More life and passion, a flow of strong flavours, with ideas that speak of yesterday but of tomorrow, too.

Evolution in taste can be delayed or contained, but it will break through and this book's course is the proof of it.




16-BLACK & WHITE MATRIX 2

- A Fashion Book made of modular Textures, suitable for Stylists, Designers and Art Directors with a symphony of BLACK and WHITE, unending geometries in a mosiac of images and icons. 275 DESIGNS saved in 5 ways - 1375 files in all - the use is free with NO ROYALTIES. 1 Free DVD included for WINDOWS and MAC - Vector and Bitmap Hi-res Files, ready for production.

Not just surfaces made from graphic matrixes of physical reality can enter our world,  but symbols too, the letters of the alphabet, objects that create a sea of icons that submerge us every day and become themselves part of the visual landscape together with "natural" geometries.
They too create colours, psychological dimensions in which we are immersed. By now the visual landscape in which we live is made up mainly of products made by man and their attachments of symbols which represent our thoughts, impressions of the mind in this continuous flux of textures.
The Matrix" project would not be complete without inserting these elements and now it is easy to find them as part of products for clothing,  on accessories or wherever decorations should be more human and less symbolic. See, for instance, products for the teenager category, hungry for symbols. To enhance their effectiveness, Black and White isolates these symbols from all the other values, leaving them in essential nudity.

The colours of black are tinged with things, objects, people, animals, all scattered and overlapping to generate a modern style of textures. A brushstroke of freshness, no half-tones or hesitation. Lines, silhouettes or synthetic images develop single themes, entering by right into the world of decoration.



17-TEEN GIRL GRAPHICS VOL.1

- A Fashion Book made by Graphics from the Archives of Fashion Design Studios, suitable for Stylists, Designers and Art Directors. 200 DESIGNS saved in 5 ways - 1000 files in all - the use is free with NO ROYALTIES. 1 Free DVD included for WINDOWS and MAC - Vector and Bitmap Hi-res Files, ready for production.

This book is the first of a series dedicated to Stylistic Studios which have produced so much creativity, applied to the market and used by countless firms. This first project stems from a studio with many years of experience which has agreed to make public its fantastic work. This is STYLAND.
This first title deals with the young and female target in a series of prints made in these last few years for important clothing firms: TEEN GIRL GRAPHICS VOLUME 1 contains 200 designs among which are several textures combined with prints, labels or embroideries.
The files have been developed in Corel Draw but in each case I have tried to translate the material into Illustrator since this is the software most used by creative graphics.

ABOUT STYLAND-FASHION DESIGN STUDIO, ITALY
An air of freshness, variety, sometimes a touch of naif, but always professional.
These are the characteristics of this Studio which has been operating in Italy for 27 years. They are masters in combining manual and pictorial signs with geometric elements, generated by a computer but without leaving it totally in control: when they wish, they know how to use it with skill.
They work with very important firms in the textile sector and are specialized  in prints which are sometimes combined with textures and labels to complete a richer, coordinated collection.
Delving further into their huge archive, I find that  with the quality and passion shown, every design, even from seasons of the past, remains valid today.
It is fair that a wider public can profit professionally from their work, proposed to very many firms. Some have never been seen on the market, others have passed swiftly through, a season ago, to be submerged by many more.
I would be wrong to forget works of quality which have cost hours of work by every single designer and stylist, up-to-date images, some an absolute novelty, in a variety of styles and ideas.




18-ULTRA POP TEXTURES VOL. 1


The Eighties was a special time for the creative people who participated, made up of absolute visual liberty with no fear of making mistakes, of the excessive or of Kitsch. Then, I was directing a fashon design studio in Florence (Italy), visiting international fairs and  engaged in business meetings for new products. This was all very exciting, the air I breathed, for example in New York or London,was full of creative liberty, in the knowledge of what the market wanted: ever-new ideas and the search for not-yet-discovered things.
We could take the daring step and match styles that none would have done before. In the name of modernity, we had to try! Strong tastes, decisive flavours; by now the world was entering into the "computer for all" era. Well-being and modernity were looking for the images that could assert them. So, the mix, strong and varied, was the essence of the Eighties, provocative even, to find new roads that have signposted the present time, such as the Postmodern Look in contraposition to the elegant Minimalism of Hi-Tech or Optical matched with Floreal, regular geometries and chaotic puzzles.
Textures had invaded the market. With a new texture the same old, tired product lived again and became appetizing, quite apart from quality and innovation. To be visible always, come what may, was over-consumistic society's "must". It was ready to cannibilize any new stylistic idea to discover another. Colours and graphic contrasts.
These were the Eighties, this is ULTRAPOP.




19-ULTRA POP GRAPHICS VOL. 1

The Eighties was a special time for the creative people who participated, made up of absolute visual liberty with no fear of making mistakes, of the excessive or of Kitsch. Then, I was directing a fashon design studio in Florence (Italy), visiting international fairs and  engaged in business meetings for new products. This was all very exciting, the air I breathed, for example in New York or London,was full of creative liberty, in the knowledge of what the market wanted: ever-new ideas and the search for not-yet-discovered things.
We could take the daring step and match styles that none would have done before. In the name of modernity, we had to try! Strong tastes, decisive flavours; by now the world was entering into the "computer for all" era. Well-being and modernity were looking for the images that could assert them. So, the mix, strong and varied, was the essence of the Eighties, provocative even, to find new roads that have signposted the present time, such as the Postmodern Look in contraposition to the elegant Minimalism of Hi-Tech or Optical matched with Floreal, regular geometries and chaotic puzzles.

But the graphics of that period did not have the strength to transform a product or indeed enough force in design to risk combining circle and triangle, soft curves and broken lines. If anything, they were an accompaniment, like a brand or a label, succeeding less than a texture or a form could, in decoration. However, research went on in the same daring ways, looking for unusual cuts and graphic quotes. Decisive colours with a lot of black in attendance, many nets, pois, lines and optical effects, mixing photos and designs, ancient and modern. New fonts were beginning to be used, the need was not yet obvious, but unconscious.
These were the Eighties, this is ULTRAPOP.



20-JUNIOR POP GRAPHICS VOL. 1

Graphics for children that portray our world in a happy way, without dramatization and full of joy and delight: this is particularly difficult because the creative person has to move on rocky terrain, far from reality, in the world of fantasy.
This should, however, exclude any banality,or easy ways out. Clothing companies tend now to attempt sophisticated themes, rivalling each other in depicting the same things (flowers, animals, puppies, love, nature, etc) but from an unexplored point of view. So it becomes more difficult for us to develop new ideas.
This book tries to test roads, developments and ways that only totally free research can yield, without the pressures of delivery and judgment of the market. This is why it wishes to be a real aid to companies that every day have to be full of fantasy and creativity. The book took a long time in the hatching, for the reasons stated above. 6 years have now passed since JUNIOR POP TEXTURES VOL 1 came out and the desire to develop graphics with the same air of freshness has not left me.
Variety in themes and styles has always been my priority but I have decided to set an order: one line each page, which explores a world with characters, styles and colours coordinated. On every page a Unique Brand, a strong idea to depart from and as we know, for a creative person, the world of children is a journey without end.



21-ETHNO POP TEXTURES VOL. 1



A Fashion Book made by modular Textures, suitable for Stylists, Designers and Art Directors. These designs are from cultures all over the world. Return to the origins. 100 DESIGNS saved in 5 ways - 650 files in all - the use is free with NO ROYALTIES. 1 Free DVD included for WINDOWS and MAC - Vector and Bitmap Hi-res Files, ready for production.

When the world is beyond control Fashion reacts by returning to its origin.
In an increasingly globalized world, creativity is becoming more and more a common heritage. Research in fashion has always drawn from cultures all over the world, reproposing for itself designs from ethnic groups which are far away in time and space.
This book does not attempt to historicize but wishes only to gather the decorative aspects which have largely become an organic part of popular culture, It is a huge background so we  will try to take a gradual and by no means comprensive path.



22-TEEN BOY GRAPHICS VOL.1

- A Fashion Book made by Graphics from the Archives of Fashion Design Studios, suitable for Stylists, Designers and Art Directors. 200 DESIGNS saved in 5 ways - 1000 files in all - the use is free with NO ROYALTIES. 1 Free DVD included for WINDOWS and MAC - Vector and Bitmap Hi-res Files, ready for production.

After publishing the first in the series of "from the Archives of Fashion Design Studios" dedicated to the studio STYLAND of Como, with the title TEEN GIRL GRAPHICS VOL 1 I would like to develop the second, with the equivalent male target.
The quality of STYLAND's work has convinced me to continue this series with them. This volume is entitled TEEN BOY GRAPHICS VOL 1 and has a variety of themes and styles in tune with the latest tendencies.
They are the same themes which they propose and develop for the most important Italian and foreign clothing firms for which they work. Also I have been able to choose from several thousand designs with a result of remarkable creative interest, in line with the spirit of ARKIVIA BOOKS directly from a Fashion Design Studio.

ABOUT STYLAND-FASHION DESIGN STUDIO, ITALY
An air of freshness, variety, sometimes a touch of naif, but always professional.
These are the characteristics of this Studio which has been operating in Italy for 27 years. They are masters in combining manual and pictorial signs with geometric elements, generated by a computer but without leaving it totally in control: when they wish, they know how to use it with skill.
They work with very important firms in the textile sector and are specialized  in prints which are sometimes combined with textures and labels to complete a richer, coordinated collection.
Delving further into their huge archive, I find that  with the quality and passion shown, every design, even from seasons of the past, remains valid today.
It is fair that a wider public can profit professionally from their work, proposed to very many firms. Some have never been seen on the market, others have passed swiftly through, a season ago, to be submerged by many more.
I would be wrong to forget works of quality which have cost hours of work by every single designer and stylist, up-to-date images, some an absolute novelty, in a variety of styles and ideas.




23-ULTRA POP TEXTURES VOL. 2

These designs describe a path which covers 3 decades: from the Sixties to the Eighties.
They highlight a very special decorative taste, at the same time refined and naif, floral and geometric but also abstract and figurative, in unison. Designs that communicate the rhythm of an epoch full of imagination, colours and elegance. They summarize many cultures, made modern by marked and geometric lines, with no fear of quoting or reinventing.
They express the allure of a femininity happy to exist and to be on show, irrepressible but elegant at the same time, underlining the body and the enchanting look of a woman. They are made to be worn and give a feeling of being free and happy as a butterfly. In these years taste was changing: They were happy and creative times when a new modernity, more courageous and daring, was reinvented. This taste and the joy in living bring the colours and marks of a new positivity which we will need to overcome the present grey and gloomy atmosphere.

New geometries, new decors and psychedelic abstractions which regale us  with an air of freshness and grace, forms and colours for a positive outlook.

There is a need for new and amusing creativity, for ULTRA POP.




24-GRUNGE TEXTURES VOL. 1

Towards the end of the Eighties a new word was coined to identify a musical genre which used distorted guitar sounds, This was "grunge", a term intended to indicate something disorderly, casual or ruined. At the same time the word "grunge" was used in fashion to identify a disorganized style, such as a collection of various used articles of clothing, crumpled and deliberately untidy. I  could say that "disorder" is the main identifying word for this look.
This is easy to understand, looking at the various fonts developed during the last 20 years. Fonts that are broken, ruined, cut, overexposed and with loud background disturbance. Other identifying terms are "casualness" , "made by hand"and "made by nature". In the world of textures this typology has always existed because it is the nearest to reality: see the weaves of any material, the micro-weaves on rocks or stones, tarmac or the bark of a tree. In the animal world too, from human skin to the casual stripes on many animals.
The "grunge" effect is everywhere and when applied gives the feeling of realism and casualness. To seem real it must contain imperfections that do not repeat themselves with the same rhythm. In this book, textures have been used that are not too realistic, so as not to seem banal. I have tried to interpret various typologies, from pois to chequered, creating with this look mess and irregularity. Some textures have been invented to enhance other decorations by creating a more blurred background or to add irregular scattering. The uses are many, in decoration or to give a different touch to the image, creating movement and volume where necessary.
GRUNGE TEXTURES VOL 1 is a source book and also a tendency book. It was born in the context of the MATRIX project where all the designs can be mixed with each other and with the designs in the two previous volumes. It was something that was lacking and now is the time to produce it.




25-LOGOPOP VOLUME 1

500 Logos ready to use and font info with the possibility of changing words.

In the panorama of books which offer hundreds if not thousands of Logos and Brands, there has always been a lack of one with new and original material. A book without a succession of company Brands, the work of numerous designers, but one with new and original designs and the chance of using them as you want.
This would have satisfied anyone, but I realized that if the word used for a brand could not be utilized either because of creative choice or for copyright reasons, then the inserted designs would only be partially useful. To avoid this, I decided that the projects should offer the possibility of changing the text, so that the brand could be personalized, using a chosen word.
I have therefore used only freeware fonts, downloaded free from the Internet to allow you to change the words, if you wish, and I have cited the link where you can download the font used. Also enclosed in the DVD there is a file in Excel (Font Links List.xls) where you can link directly each font to download it.
In the DVD every design has a double version: one with the text expanded vectorially so that it becomes a design made of lines, the other version is not expanded so it remains a text that can be modified once the selected font has been inserted into the computer.
The philosophy of ARKIVIA BOOKS has always been to offer the maximum support to its clients, as shown with this book.

NOTES
In addition to the possibility of using the logos in agreement with the copyright terms present on page 2 of the book, another important feature is the presence of “text not expanded” files. This means you can modify each word included in the logos and then customize them to your own use and pleasure. You can insert in your font folder (depending on O.S.) the required fonts, previously downloaded from the sites we have recommended.
For this reason, all fonts used in these logos are freeware and have been downloaded from websites that offer them free. In the book and in the attached Excel document enclosed in the DVD (Font Links List.xls) we show the fonts and the sites where they were downloaded to enable customers to download them in turn.
These fonts can be downloaded from dozens of sites, but given the completeness of the information we have opted for www.dafont.com, except for some fonts (12) only found on different sites. If it is no longer possible to download some of the used fonts from the websites as we have done, we are not responsible for these changes and ask our customers to look online at other websites. All information provided have been taken directly from the Web and any inaccuracy is due to this.



26-ETHNO POP TEXTURES VOL. 2



A Fashion Book made by modular Textures, suitable for Stylists, Designers and Art Directors. These designs are from cultures all over the world. Return to the origins. 100 DESIGNS saved in 5 ways - 650 files in all - the use is free with NO ROYALTIES. 1 Free DVD included for WINDOWS and MAC - Vector and Bitmap Hi-res Files, ready for production.

When the world is beyond control Fashion reacts by returning to its origin.
In an increasingly globalized world, creativity is becoming more and more a common heritage. Research in fashion has always drawn from cultures all over the world, reproposing for itself designs from ethnic groups which are far away in time and space.
This book does not attempt to historicize but wishes only to gather the decorative aspects which have largely become an organic part of popular culture, It is a huge background so we  will try to take a gradual and by no means comprensive path.




27-NATURAL POP TEXTURES VOL. 2

This second book develops more soft and elegant designs inspired by modern North-European Design also called Scandinavian Style.
Graphic synthesis, clean and essential, is preferred to realistic representation, which is less suitable for home decoration, interior design and fashion clothing textiles.
Many new ideas in delicate and harmonious colours in tune with the present market.

Notes from Vol.1
The naturalistic concept passed through all the 90's up to today, ever present in the various emerging styles, whether"New Age", Tecno Pop" or "Gothic Pop".
Many designs developed by me for "Gothic Pop Textures vol 1" were influenced strongly by this concept in their "gothicness" This new series of designs emphasises this concept even more while trying to maintain a cleaner decorative style, with fewer twirls and excesses. The use of tonal colours and simple lines gives the designs a touch of lightness and grace, a breath of natural modernity.
In this way they combine perfectly  with the refined elegance of women's clothing today and can be used in interior design, furniture covering, wall paper, lamps and curtains.
Not always the amalgam of designs in a book succeeds in forming an evident unity, but here it seems to have done so, giving textile and graphic designers a rich and efficient source for using these projects and for developing new ones on the basis they offer.
The elegance, the freshness and simplicity of this book are the distinguishing marks of its modernity.



28-KINETIC ART TEXTURES VOL. 1

Beyond the IMAGE and the MEANING in every work, there are RHYTHM and STRUCTURE to understand the AESTHETICS  abstracted from  the MEANING.
The geometries have their own aesthetic values apart from what they represent but when they describe Nature they do so in a continuous and rhythmic fashion.

The evolutions of a butterfly design lines in space and create repetive structures which have their own decorative reason apart from being "butterfly". The moviment of river water creates repetive designs as does the development of a city with its windows and parallelepipeds which spread in time. A tree which grows and extends its branches to the sky through the seasons adopts variations, the description of which translate into living lines. The land which in many thousands of years sediments in layers that the earth moves in oscillating rhythms. The sea which sculpts the rocks and caresses the sand, tide after tide...The contour lines of things, useful for defining them, intertwine and overlap in time and movement, creating a continuous repetetive flux of signs. They are expressions of life which create beauty independently and automatically.

The various "ARTISTIC FASHIONS" which followed IMPRESSIONISM" needed, among other thins, to free this sort of BEAUTY. Consider, for example SEURAT's research into the landscapes of VAN GOGH, or BOCCIONI's studies, the decomposing of the CUBISTS  or the geometries of MONDRIAN. These artists expressed the need to isolate the beauty of lines and forms from the meaning represented in time and movement. All abstract illustration has investigated the beauty of line and form, of matter and particles, of movement in time and space.
During the Fifties the sculptures of CALDER were a development of this need for abstract portrayal through movement and have represented a fixed point in what from then on is known as "KINETIC ART".
The graphic styles that represent this art are various and were mainly able to express themselves in the Sixties. See OPTICAL ART and VASERELY's research or the works of MUNARI and ENZO MARI, or the
"LUMINOUS WORKS" of SCHOFFER and PASQUER and the "MACHINES IN MOVEMENT" created by many artists.
This book, however, does not wish to be an historical reference but tries to profit from the graphic style derived from these studies, proposing designs useful for clothing and furnishing. Designs in full creative freedom, without referencial restraints, transforming artistic ideas into repeating modules, ready to be developed on everyday products.

ART TAKES FROM LIFE THEN RETURNS TO THINGS THEIR PRECIOUS BEAUTY.



29-ANIMAL STYLE TEXTURES VOL. 1



THE WORLD IS LIKE A JUNGLE: ANIMAL STYLE

There is a tendency that has slowly but surely imposed itself: the style inspired by animal skins. At first just a touch, on accessories such as bags, scarves, hats, underwear, with a hint of daring provocation.
Despite the repugnance of many who found it a bit kitsch or too osé, slowly it succeeded in entering the world of everyone. Thanks to its strong essential and recognizable style, it has managed to renew itself, passing from a simple proposal of natural skins to painting itself with soft, flowing colours in the '80's style
or with pastel hues.
Even mixing everything in a mad way, creating a sort of Patchwork, very fashion, and with ethnic and floral designs. Stylists everywhere have included it in their proposals in recent years, letting loose the wild aspect of their creativity in a jubilation of zebras, leopards and even the most refined pythons.
Expressed with ever better taste, often in a few details, matched with black and the prevailing greys of this period, it gives an extra touch of colour and at last emerges from the cliché where it was relegated.
Perhaps people abandon themselves to the dream of savage man, free from the chains of civilization with its economic and social problems. Better to survive, free in the jungle or rather in its metaphor: Animal Style.




30-FLOWER FASHION TEXTURES VOL. 1

Floral Style from Classical to New Romantic

Over the last 50 years, since my teens in the '60s to today, I have witnessed different visions of the Decorative Floral Idea (pop, hippie, liberty).
Different styles often made to marry modernity as a need to be present or otherwise strengthen the idea of ​​elegance which as such probably never existed.
This idea of ​​new and classic design has resulted in the late '80s in an evolved romantic style: large and small flowers that even if figurative were treated with a touch of cool modernity with pastel and autumn colours. A more synthetic sign, non-pictorial but graphic, mixing flowers with Provençal decoration, country-checkered geometries, or stripes with a more city-like feeling.
From furniture to accessories, the years around the turn of the'90s bore witness to this romantic look and one of the greatest expressions of this was the British designer Laura Ashley with her shops, very refined and versatile: wallpaper, home decor accessories, fabrics and timeless clothing.
Currently there is a return to this style and with ups and downs it has never abandoned us over the past 20 years.

This book tries to communicate this decorative style by making matches between flowers, stripes, squared and Provençal geometries. It contains 60 double pages and each of them offers a set of modular textures with a single colour palette, coordinating flowers and signs.

A considerable effort has also been made in designing everything in a vectorial way and using flat colours, for use at the highest quality, usability and personalization.
I would have liked to have had a book like this every time I needed to design for a female and young target. Now this is possible for all those who want to share this creativity.



31-BLACK & WHITE MATRIX 3

THE ELEGANT GEOMETRY OF "BLACK & WHITE MATRIX 3"

Grandmother's embroidery, the designs of Provençe, a tangle of lines and decorations intense, flowers and leaves, branches and flourishes, curves and paisleys, patterns of different cultures from east to west for new combinations and various sizes, to wrap and make a fabric light like a spider's web.
When decorative cultures coming from distant places come together, Europe and Asia with their traditions can coexist and adopt a mature look with no fear of excess. An extreme balance, a refined taste,  a challenge to minimalism to not give up the beautiful.

In the first volume of BLACK & WHITE MATRIX simple decorations and geometric designs were combined basing themselves on old European tapestries, synthesized to the extreme. The unusual combination was helped by the synthesis of black and white as an effective binder without decorative excess.
The evolution of taste, touching on themes of globalization and putting together various cultures has allowed an evolution of the MATRIX project with volume 3.
There is something that unites Minimalism with the complexity of oriental themes and it is highlighted elegance, cutting the excessive and favouring on one side contrasts and on the other emphasizing the poetry of dreamy feminine embroidery with the insertion of micro patterns like tonal colours.
Topics such as Japanese and Indian prints intersect with linear Art-Decò generating contrasts of complementary geometries in an absolute BLACK & WHITE.
Various decorative layers and backgrounds, rich in detail, have lead above the bar of bad taste to make us appreciate compositions never attempted before, an oriental pot pourri, but more graphic and essential.
Elegance is not a closed concept and we can take risks to find new directions.



32-GEOMETRIC TEXTURES FOR FASHION VOL.1




The project GEOMETRIC TEXTURES FOR FASHION
was born as a natural continuation of the MATRIX line with an emphasis on combinations of minimalist geometric designs, which are useful in a variety of ways, from furniture to accessories but always keeping in mind that the majority of users work in fashion.
In this system, the structure is important but even more is the style and its important corollary:
the COLOUR PALETTE used to interpret it. This motivated me to add value to this project, born in B&W: a variety of colour palettes that give each page a specific atmosphere. The textures harmonize themselves with each other for both the graphic design and the colour tones.

COLOURS and PALETTES in GEOMETRIC TEXTURES for FASHION vol.1
These palettes are born initially drawing from the real harmonies that can be found in beautiful photosof nature.
However, regarding the use, not always the colour that tinges nature is perfect to be worn.
The psychological aspect of colour, in this historic moment, is fundamental and colour actsas a protective screen that welcomes us while making us feel beautiful with a single tone which highlights the others.
I decided to test some palettes on famous paintings, interpreted in my own way, in order to sense their aesthetic potential.
The shades of green give a feeling of safety and turquoise-blue gives a sense of spiritual calm while violet releases dreams towards the future powered by touches of yellow and orange. All this without shouting, colours that whisper, as if waking from a bad dream.




33-ABSTRACT TEXTURES VOL.1




An abstract is something more.
I live in a continuous stream and I could lose myself in textures but always the same at each point only. The abstract textures give this dimension of existence.
In an abstract design I can see clearly for a moment and then be overwhelmed by the continuous flow. There are inside without being able to get out of it, with its many facets and is the story of a lifetime.
An abstract is always more than one meaning, are fragments of the infinite, endless music.


GEOMETRIC OR ABSTRACT
from the idea of geometric to abstract.
I look at a circle, a circle is present in nature and spreads like waves, wheels, balls, eyes or dishes, coins. We are surrounded by circles and they create mental boundaries of perfection and exclusion, inside or out.
Any distance from us, every point at the same distance is a perfect circle. So even when you do not see them there, we wrap. This is an abstract idea that goes beyond his being geometric because it creates multiple dimensions, there be a circle but not geometric abstract. Nature is real, as an idea, a dream, a faith.
Representing a world so vague, indefinable but at the same time concrete was the challenge of artists who wanted to break free from the shackles of reality codified obvious, stereotypical.
Enter in the abstractionism was revealing form and untouched beauty, where the rules of yesterday no longer apply, man can generate more rules to bypass the old visual cultures and create new ones. The example of the circle is only one possible, everyone can create form and beauty ... just no limits.


ABSTRACT ART, ARS FUTURA
On CONCEPT of ABSTRACT
From the late nineteenth century onwards, when there was awareness of freedom of expression, each artist has sought more than ever to develop a new way of seeing and representing the world with respect to the rules of the past.
In doing so he was forced to find a balance between some dualisms inherent until then in each visual language. I have listed 5:
1 - The OUTSIDE VISION, as a point of view, the most objective possible and the more subjective INNER VISION.
They were among the first variables for placing the needs of representation: from everything outside to all within.
2 - Another dualism is that between the REAL IMAGE, as close as possible to what the eye catches, and the STYLIZED IMAGE, which is interpreted, broken up, exploded, distorted to the extent of denying and annihilating reality.
This interpretation comes through STYLE, made up of personal rules or features
in contrast with the so-called "REAL IMAGE".
3 - This is the fundamental dualism between DECORATION and MEANING.
The representation of beauty in lines and forms, seen in themselves, along with their colours, rhythms and structures against the expression of meaning, the strength of the contents, the emotion that an image evokes.
4 and 5 - These dualisms can be considered also as those between ORDER and CHAOS (4)  and between BALANCE and MOTION (5).

The different artistic currents can be placed definitely within this pattern, oscillating between two extremes for each of the dual aspects mentioned.
However, figurative art has taken the road of trying to get rid of all the strings to discover new freedoms, new visions or otherwise die of the boredom induced by everything already seen and done, continuing to quote or mixing the different options as a NEW POST-MODERN.
ABSTRACT arises from this need, a way of proceeding that is more uncertain, vague, inexact, which however, can help us discover different worlds, new emotions, new flavours and new beauty. ABSTRACT is a dream where there no need to assign any meaning.
It is borderline, where no rule applies except the figurative one of seeking a visual balance that satisfies us.
The various modern currents have brought this to its extreme consequence, as far as to say that "ART IS DEAD" and have transposed into the abstract, which should have:
1 - a NEW VISION, which represents the inside and outside at the same time
2 - a NEW IMAGE, unknown and undefinable.
3 - a DECORATION and a MEANING made ​​of signs and many, varied words, not fossilized in ancient patterns,
4 - a NEW ORDER
5 - NEW AESTHETIC BALANCES.

The human mind cannot avoid "READING" a meaning into an image.
Even if abstract, it still creates a meaning, thus establishing a balance between the visible and the hidden parts yet to be discovered. Beauty is often experienced as a balanced synthesis between these two parts, thus becoming "ART".
An image, which causes mental stress because its entity, form and content represented are not clear, enters into the category of "NOT ART" and as such will not be considered. It will remain as stains, scribbles or random signs, not worth mentioning until the moment when someone will be able to find the hidden meaning and will see new intelligible rules.
It follows then that everything could be "ART" and sooner or later this will happen.




34-SIMPLE NATURE TEXTURES VOL. 1

Flowers are never enough, especially if they are soft, in pastel tones, drawn on a sketch pad. Nature is a breath, a caress that covers you, interwoven leaves, flights of birds, butterflies without colours or dragonflies coloured water.
Suitable for timeless fabrics, collections that have the fragrance of spring, of a past time which we want to return. Nature is tinged with nostalgia and becomes simple.



35-GRUNGE FLOWER TEXTURES VOL. 1 

I have a dualistic theory of style and art, and this allows me to frame a stylistic way as opposed to another.
This book develops floral designs in the world with a particular imprint called GRUNGE opposed to a synthetic vision iconographic, linear, geometric.
I could represent the flowers in different ways with regular lines demarcating the contours and shadows as in FASHION FLOWER TEXTURES or in a highly geometric synthesis as in TECNO POP or lines convoluted, complex and repetitive as in BLACK & WHITE MATRIX 3. In this volume instead I created drawings where the predominant sign broken, dirty, sketchy backgrounds with irregular up to the limit of abstraction.
In this gallery I also included images from fresh strokes and stains watercolor because they have a touch of irregularity that is included in this new concept BACKGROUND.
Indeed expand the initial concept of GRUNGE need to find a common way to classify a design entering a larger family as opposed to the rational style, tech, minimalist prevailing in the world today. But it is a dual world that pits rational to irrational, regular to irregular, geometric to abstract, linear-precise precisely in GRUNGE.
And both styles are now functional needs of our representation and our way of being contemporary.

The designs in this book are made with irregular marks, fresh and almost abstract. In the sign of creative an explosion of plots and structures embodies flowers, different from classical iconography and never dull.
Among the developing trends, there is one which offers many possibilities on different fronts and this is the GRUNGE STYLE. 
It is quite new and not yet inflated so with not many visual references to inspire me, I had to start from scratch in creating new ones. 
In this technological and global era dominated by Black/White Geometry and Ethnic Designs,  the GRUNGE STYLE is opposed to these. 
It expresses a need for complexity but at the same time is simple, fresh and irrational, away from the constraints of current smothering rules, social and existential stress.



36-LIBERTY STYLE TEXTURES VOL. 1 

All the changes that occurred in art at the end of the 19th century were also reflected in the so-called minor arts, touching mainly the lives of every day: clothing, decor, design and architecture. 
Building on the work of the English style ARTS AND CRAFT a new style emerged in most modern countries, the LIBERTY STYLE, which then slowly developed into ART DECO', even more free with non-figurative shapes. 
After a century and a succession of non-figurative trends we can appreciate even more the synthesis between nature and decor represented by this style. Not for nothing was it called ART NOUVEAU. 
This is a collection without historical purposes, attentive to colour palettes of the present time and less redundant forms. It is the first collection among the many completely vectorial, to better meet modern needs and adapt to various uses.

From ART & CRAFTS to LIBERTY, from LIBERTY to ART DECO
Change through mutation, change through breaking.

IMPRESSIONISM and the VICTORIAN DECORATIVISM expressed in large part by ART & CRAFTS are two faces of the same need: to change the vision of the stereotype of verism. The first through the breaking up of every detail and the sheer visual sensation, the second retracing every detail in a schematic way, closer to the possibilities of realization of artisanal processes and production.
These answers seem poles apart but they are the simpler replies than both painting and design give to the same problem and the wish for change. 
These two initial starting points will mark the further development for each of the two disciplines, subject to the same feeling and the same attempt to break free from classical schemes and find a freedom of expression never before known.
Painting will proceed through many "isms" and many incredible figurative hypotheses while Design will find the synthesis of nature nearest to the geometric requirements of production, embracing linear curve forms , soft and pleasing to the eye: it is the birth of ART NOUVEAU also known as LIBERTY.
It is a form of synthetic naturalism where geometric schemes are the basis of the projects on which precise lines move in curves embracing each other in a constant tangle without any end or escape.
All artifacts will adapt to these soft developments but especially the designs used for clothing and for interior home decor.
The colours used are also adopted from this naturalistic fashion: from the greens and reds of autumn to the blues and pale turquoises of dawn. The tones and gradations used have a softness that agrees well with the forms. Although sometimes a colour lights up it still remains wrapped in scales of dusty or pastel colours.
This style developed for about 25-30 years at the turn of the new century and evolved until the breaking point when Geometry, representing the new tendency, took the upper hand on Nature and forms became more decisive and in contrast with each other. It will be the beginning of a new period: ART DECO.




37-ABSTRACT TEXTURES VOL.2 




An abstract is something more. 
I live in a continuous stream and I could lose myself in textures but always the same at each point only. The abstract textures give this dimension of existence. 
In an abstract design I can see clearly for a moment and then be overwhelmed by the continuous flow. There are inside without being able to get out of it, with its many facets and is the story of a lifetime. 
An abstract is always more than one meaning, are fragments of the infinite, endless music.


GEOMETRIC OR ABSTRACT 
from the idea of geometric to abstract. 
I look at a circle, a circle is present in nature and spreads like waves, wheels, balls, eyes or dishes, coins. We are surrounded by circles and they create mental boundaries of perfection and exclusion, inside or out. 
Any distance from us, every point at the same distance is a perfect circle. So even when you do not see them there, we wrap. This is an abstract idea that goes beyond his being geometric because it creates multiple dimensions, there be a circle but not geometric abstract. Nature is real, as an idea, a dream, a faith. 
Representing a world so vague, indefinable but at the same time concrete was the challenge of artists who wanted to break free from the shackles of reality codified obvious, stereotypical. 
Enter in the abstractionism was revealing form and untouched beauty, where the rules of yesterday no longer apply, man can generate more rules to bypass the old visual cultures and create new ones. The example of the circle is only one possible, everyone can create form and beauty ... just no limits.


ABSTRACT ART, ARS FUTURA
On CONCEPT of ABSTRACT 
From the late nineteenth century onwards, when there was awareness of freedom of expression, each artist has sought more than ever to develop a new way of seeing and representing the world with respect to the rules of the past. 
In doing so he was forced to find a balance between some dualisms inherent until then in each visual language. I have listed 5: 
1 - The OUTSIDE VISION, as a point of view, the most objective possible and the more subjective INNER VISION. 
They were among the first variables for placing the needs of representation: from everything outside to all within. 
2 - Another dualism is that between the REAL IMAGE, as close as possible to what the eye catches, and the STYLIZED IMAGE, which is interpreted, broken up, exploded, distorted to the extent of denying and annihilating reality. 
This interpretation comes through STYLE, made up of personal rules or features 
in contrast with the so-called "REAL IMAGE". 
3 - This is the fundamental dualism between DECORATION and MEANING. 
The representation of beauty in lines and forms, seen in themselves, along with their colours, rhythms and structures against the expression of meaning, the strength of the contents, the emotion that an image evokes. 
4 and 5 - These dualisms can be considered also as those between ORDER and CHAOS (4)  and between BALANCE and MOTION (5). 

The different artistic currents can be placed definitely within this pattern, oscillating between two extremes for each of the dual aspects mentioned. 
However, figurative art has taken the road of trying to get rid of all the strings to discover new freedoms, new visions or otherwise die of the boredom induced by everything already seen and done, continuing to quote or mixing the different options as a NEW POST-MODERN. 
ABSTRACT arises from this need, a way of proceeding that is more uncertain, vague, inexact, which however, can help us discover different worlds, new emotions, new flavours and new beauty. ABSTRACT is a dream where there no need to assign any meaning. 
It is borderline, where no rule applies except the figurative one of seeking a visual balance that satisfies us. 
The various modern currents have brought this to its extreme consequence, as far as to say that "ART IS DEAD" and have transposed into the abstract, which should have: 
1 - a NEW VISION, which represents the inside and outside at the same time
2 - a NEW IMAGE, unknown and undefinable. 
3 - a DECORATION and a MEANING made ​​of signs and many, varied words, not fossilized in ancient patterns, 
4 - a NEW ORDER 
5 - NEW AESTHETIC BALANCES. 

The human mind cannot avoid "READING" a meaning into an image. 
Even if abstract, it still creates a meaning, thus establishing a balance between the visible and the hidden parts yet to be discovered. Beauty is often experienced as a balanced synthesis between these two parts, thus becoming "ART". 
An image, which causes mental stress because its entity, form and content represented are not clear, enters into the category of "NOT ART" and as such will not be considered. It will remain as stains, scribbles or random signs, not worth mentioning until the moment when someone will be able to find the hidden meaning and will see new intelligible rules. 
It follows then that everything could be "ART" and sooner or later this will happen.




38-GRUNGE GEOMETRIC TEXTURES VOL. 1 

Among the developing trends one offers a lot of possibilities on different fronts and this is the GRUNGE STYLE. 
It is quite new and not inflated so there are not many visual references to inspire me so I had to start from scratch in creating new ones. 
In this technological and global era between black/white geometry and ethnic designs,  the GRUNGE STYLE is opposed to these. 
It expresses a need for complexity but at the same time is simple, fresh and irrational, away from the constraints of current smothering rules, social and existential stress. 
This idea of POSITIVE FREEDOM shakes off even the darkness and the dreams of the GOTHIC STYLE that don't seem to offer answers to these feelings with success. Irregular marks, icons broken into fresh fragments, meaningless, almost abstract. 

The genres that lend themselves to this are many, but two in particular for me prevail:
1-A rewriting in this sense of geometric designs, starting from classic basic forms. 
2-The renewal of floral decorations, which are currently widely used in their traditional style, from provençal to wallpaper of the nineteenth century. 
For both there is a need to renew by removing the patina of “already-seen” by grunge rewriting and a new vision. 

This is what I want to achieve with this book dedicated to geometric figures.




39-ETHNO POP TEXTURES BLACK EDITION



The charm of ethnic designs increases considerably if interpreted in the most modern BLACK AND WHITE. 
While taking away the magic of colors, typical of these designs adds them a chance to use greater. 
In fact, the graphical structure of these designs is suitable for all circumstances and so they become casual and elegant at the same time. 
These are the same designs of ETHNO POP TEXTURES VOLUME 1 and 2 combined and rearranged to be in BLACK & WHITE.
I hope this had affected a larger number of designers and stylists to the wonderful world of ethnic style.

The project GEOMETRIC TEXTURES FOR FASHION
was born as a natural continuation of the MATRIX line with an emphasis on combinations of minimalist geometric designs, which are useful in a variety of ways, from furniture to accessories but always keeping in mind that the majority of users work in fashion.
In this system, the structure is important but even more is the style and its important corollary: 
the COLOUR PALETTE used to interpret it. This motivated me to add value to this project, born in B&W: a variety of colour palettes that give each page a specific atmosphere. The textures harmonize themselves with each other for both the graphic design and the colour tones.

While in the first volume they had been developed simple designs with 2 or at most 3 colors to design, in this second volume more complex textures have been developed, sometimes with descriptive symbols and with a greater number of colors to create sophisticated atmospheres.
To do this I have used even more than the first volume, paintings and drawing from various eras, all redrawn by me and adapted chromatically the textures combined. I hope that the result of these elaborations give a higher value these textures and can help you in your stylistic choices.

As in the first volume, I have enclosed all palettes created for it can be used also for other projects.




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