Grignani’s projects are based on continuous research and experimentation in visual perception and the creative use of graphic and photographic media. ( November 2020) ( Learn how and when to remove this template message) Unsourced material may be challenged and removed. Please help improve this section by adding citations to reliable sources. He wrote various essays and taught both in Italy and the U.S.A. His work is displayed in international museums including MoMa in New York, the Stedelijk Museum of Amsterdam and the Victoria and Albert Museum in London. In 1967 he won the Typomundus 20, awarded by the International Centre for the Typographic Arts in New York to Alfieri & Lacroix. In 1966 he received an award at the Warsaw Poster Biennial and another at the Venice Biennale in 1972. In 1965 he took part in "Vision 65", the first World Congress on New Challenges to Human Communication, held at the Southern Illinois University in Carbondale. In 1959 he won the Palma d’Oro for advertising and the gold medal at the Milan Triennale. He had more than 49 solo exhibitions from 1958, in various countries, including the United Kingdom, Switzerland, Germany, the US and Venezuela. He was a member of the juries of "Typomundus 20/2" and the Warsaw Poster Biennial in 1970. Grignani worked as Art Director at Bellezza d'Italia and became art director for Pubblicita in Italia annuals in 1956, where he continued for 26 years. His work was exhibited in contemporary art exhibitions such as Documenta III in 1964, alongside the work of Jasper Johns, Francis Bacon, Anthony Caro and others. In 1952 he created a new corporate identity for Arti Grafiche Alfieri & Lacroix in Milan, to which he added designs for 150 posters. He experimented in the fields of photography and photomontage. Early career ĭuring the 1930s he founded Studio Grignani, designing advertising for clients such as Fratelli Borletti, Fiat, Domus, Dompé, Mondadori, Montecatini, and Alfieri & Lacroix for whom he designed numerous campaigns. In Italy, he is considered a master of optical graphic design. He remains a powerful influence in the world of graphic design. īased on theories of perception, particularly the psychology of form, using his knowledge of architecture, he created more than 14000 experimental works. Subsequently, his work was more closely associated with Kinetic Art and Op Art. He played a part in Italy's second Futurist and Constructivist movements. Early on, he began experimenting with photography, and became interested in optic and visual phenomena. He studied architecture in Turin between 19. Grignani was born in Pieve Porto Morone, Italy. He is best known for black and white graphics, particularly the Woolmark logo, which was voted 'Best Logo of all Time' by Creative Review Magazine in 2011. ( March 2017) ( Learn how and when to remove this template message)įranco Grignani (Febru– 20 February 1999) was an Italian architect, graphic designer and artist. It may require cleanup to comply with Wikipedia's content policies, particularly neutral point of view. There are also many options to expand the works,” the furniture designer shares.A major contributor to this article appears to have a close connection with its subject. “For me, the uniqueness of the Onna Collection is its application and use of stone-the material is used in a way that others may have not seen in the past or is currently on the market. The white oak is sourced locally from the Hudson Valley. The pieces, which employ steel, have been hot-applied with a ‘house patina,’ a signature finish developed by Swell Studio that infuses a cool blend of chocolate brown and blue-green metallic hues. The Breccia Pernice stone, sourced from quarries in Verona, Italy, displays a spectrum of intense reds to soft pinks, yellows and whites, depending on its cut within each piece. Consequently, three materials came into play: Breccia Pernice stone, steel and white oak. Following a visit to the Carlo Scarpa Gavina property in Bologna, the designers corroborated that the collection’s material palette will be an articulation of the abounding vernacular. White and Pettus observed the consistent utilisation of Breccia Pernice in Italian design, art and architecture.
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