The evolution of my 3D lettering is the result of years of research in graphics, architecture, design and music as well as in calligraphy and more specifically on the architecture of individual letters. The letters have been „raped“ in every sense, headed, exploded, moved, mixed, hidden, seen from behind, to find a way that is not conventional to what the viewer expects, just to create the “NEW” while using „Simple“ shapes but complicated in their intersections.
There is always the actual movement as it is a motion graphic that gives dynamism to the lettering itself. Letters sometimes overlap because they have different speeds or weights. The deconstruction of the architecture of each single letter is destroyed or moved by the surrounding polygons.
The choice of non-color is due to the fact that I‘m interested in shapes and darkness instead of using colors that would otherwise distract from the reading that I want to communicate. It is a wireframe narration, as if the color came next, left to the imagination. For me, it is very important to know how an object should be
displayed in 3D.
The perspective of my work are conceived using a very narrow point of view (as if I used a 120mm lens for example) so I have all the lines that make up the geometry of my work almost parallel and perpendicular while remaining 3D. In this way, the perspective will be more realistic from a distance away from you.
There is a careful study of how light affects the surfaces and consequently how the shadow is projected. I love playing with natural light (sun) for its infinite corner at the expense of an artificial light. Sunlight having an infinite angle consequently has a shaded waterfall that is always parallel (to the human eye) and varies from being „tough“ (on a net line) on a sunny day without clouds, being soft (on a Cloudy day) exponentially blurred away from the summit from where the shadow begins.