photo: Fabian Ramos

YEAR: 2019
GRAPHIC DESIGN: laura negro
PHOTOGRAPHY: Paloma Gonzalez

Dimensions: 25.5 x 20.5 cm.
148 pages.
Binding: Cartoné in black fabric with letters in blind embossing.

Frederico Miro work is characterized by his personal painting technique that highlights the contraposition between natura and artificial elements. His inspiration has its origin in the traditional world. He uses a straight line that recreates textures which remind us of tapestries and codes of images which are a sign of his identity.Taking these concepts act as a starting point, the intention was to translate them into the language of graphic design by breaking the barriers between the reasoned catalogue and the artist´s book.

The book starts with a typographic texture made by the superposition of its letter’s lines that shape Frederico Miro’s name, making a reference to the forms of composition and the superposition of the layers of his canvases. The typography is the Engravers Roman BT that is like the one used in the Marques of the Vicuña book of Goya, by  the typographer Manuel G. Hernández and therefore, it evokes tradition.

Starting from the importance of the line use in Federico’s work an imaginary straight line that goes across the totality of the book and its cover was designed. This line is composed by the different graphic elements (the lines on the pages that are documented) and the typographic ones: titles on the covers of each chapter and section and the own index that is also a continuous line.

Each page that documents the work has next to it a piece with a different approach on the front and the back side.

The objective is to help to visualize the work and to make a reference to visual perception plays and the concept of Vertical Time both present in the work of Federico.

The importance of the texture and its touching feeling is reflected by using six different papers. In addition, the plastic and artistic dimension of the book puts the editorial design as a dialogue between words and images.

book is in black, white, and ivory, except from the artist’s work. The use of white acquires a great relevance due to its reference to the traditional characteristic neutrality of the exposed space in contemporary art.

Art critic texts are justified under the canons and parameters of legibility; order and structure with reminiscences to the Aurea proportion, the symmetry of wide margins, the stains of the text which are exposed in the middle of the book. The typography is Times Text with 9 size and an interline of 11,5 points.

Interviews are ordered in three columns and the flag’s justification. Irregular and wide margins are narrower on the left sides and are wider when they meet the binder cover. The typography used is Roboto, a sans serife type so the size is reduced regarding the Times Text to homogenize .

The texts are present at the end of the book. It uses palatine ivory color paper to make the reading more pleasant.