Cover Design and Illustration for the New Re-design Issue of Computer Arts, UK.
COMPUTER ARTS: Why does design matter?
MONICA and FRANCISCO: From the grandiosity of the cosmos to the tiniest particle ever founded, we’re all part of a great design. We believe design is the bridge that defines the relationship we have with everything around us. Since the beginning of their existence, men started to imitate the designed nature of the Universe as a way to get in touch with that unattainable harmony or beauty. Design matters because is our utmost instinct to imitate and appreciate that which gives pleasure to our eyes and senses.PHOTO CREDIT:
Photo by Ioulex
Model: Wang Xiao
make-up by Roberto Morelli
Costume by Christian Joy
The making of our redesign cover
- featuring a red foil + embossed stamp, two different graining textures on the artwork, a velvet varnish and a spot-UV for luck/
1) Who or what influenced this project? Where did your ideas come from? How would you describe the overall aesthetic?
The concept was guided by what we would really like to do if given the freedom of creating something truly in our style, which was exactly what CA asks us to do. This project was influenced by our own body of work, specially our self promotional work. Our ideas came from different sources, one of them was to use a photo of a project we shoot with one of our recurrent collaborators and favorite photographers, Ioulex. This photo comes from a project we did together called "A Mon Seul Desir" inspired by “The Lady and the Unicorn” tapestries at musée de Cluny in Paris, which talks about the five senses and an obscure sixth sense. We wanted to create a sort of futuristic goddess putting all these elements together.
2) How long did the project take to complete? Describe your workflow, how each piece was put together?
I took about 4 days. Our first step was to look for the right photograph. We wanted to use a striking portrait of a woman but we were particularly interested in the style and the composition of the photo, we wanted to work with symmetry and a sense of timelessness within the grain. The second step was to build a bank of graphic elements to play around with. Some of the elements we used come from our old graphic archives a others are new, but they all are deconstructions of ancient objects images we have collected through the years. The element at the bottom of the composition, for example, comes from a prehistoric object we photographed at a museum in Tokyo a couple of years ago. After working in the composition and integration of the different elements with each other and with the photograph, we focus in finding the perfect color palette.