Organic is a new book by sisters Nicole and Petra Kapitza, aka multi-disciplinary design studio Kapitza, which features 200 experimental pattern designs that aim to inspire creatives from graphic, interactive and fashion designers to illustrators and animators.
Organic is the sisters' second book after Geometric. It features 110 colour and 90 monochrome works and costs £45/€49/$69 from Kapitza's site.
The sisters say that the inspiration for Organic came from "an ongoing fascination with irregular arrangements, formations and shapes found in nature and man-made structures."
Here's the blurb. More pics after.
'Their sources of inspiration are vividly conveyed for us here. In nature it might be the smooth tactility of a pebble, the spread of petals on a flower, the shimmering flow of a stream, fissures on the bark of a tree, the crystalline forms of ice, or surface soil pellets left by tunnelling earthworms. Whereas the man-made might be characterized by graffiti, configurations of paving stones, the interlacing of scaffolding and cranes, the rhythm of stacked dinner plates or the tangled disarray of lengths of string. Here Kapitza distinguish for us the beauty of the accidental, the arbitrary and the unpredictable. The remarkable scrutiny of forms, patterns and structures for Organic has been conducted with a discipline, rigour and zeal which has yielded a wonderfully diverse, vibrant and abstracted visual lexicon that is immediately classic Kapitza.
Their profound love of nature and the natural world is a subject they have previously communicated, to beautiful effect, through their We Love Nature font series. Here they have portrayed a diverse range of leaves and foliage, flowers, stems and blooms, birds and animals. It is this determined philosophy and methodology that so defines Kapitza. They possess such vision and such a desire to push boundaries, underscored by an acute creative curiosity, attention to detail and an insatiable appetite for graphical discovery and adventure. Kapitza are able to generate a wealth of innovative ideas whilst operating within the relatively limited confines and stringency predetermined by font editors and design software.
Kapitza are unique in their use and manipulation of the font. They utilize these as tools to create artworks where each font is different and distinctive in style and character. The incredible diversity of textures, patterns, colours and visual synergies comes from a playful but exacting process of analysis, discovering what happens when font characters are acutely and elaborately pushed to extremes in order to create orders, configurations and themes that might not exist otherwise.
Organic plays with scale, layering, balance and proportion so that rather than dominating the page, forms establish intriguing bonds, relationships and tensions with one another. Compositions, at times, can also be seen to recede and withdraw from the viewer and sometimes feel in danger of falling off the page completely. On occasion, it can seem if the majority of a particular design continues well beyond the physical confines of the book as part of a bigger, more elaborate entity.
Restraint, per se, remains a distinct attribute of Kapitza’s work. They conceive an extensive range of poetic ideas that are undertaken with discipline and refinement, reminiscent at times of painting, hand writing,weaving or musical scores. Their sophisticated and intelligent results, whether understated or chaotic, can be seen to replicate the minimalism, of say an Ellsworth Kelly painting or the energy of a Pierre Soullages canvas. At other times, Kapitza’s compositions become like sonatas, symphonies or movements and recall the intricacy of a Karlheinz Stockhausen score for example.
It is this peculiar creation of the very complex through the very simple, or what can be termed Simplexity, (the theory of possible complementary relationships between complex and simple systems, processes and methods) that genuinely defines Kapitza’s practice.
Kapitza’s work sits in a growing world of pattern appreciation and appli-cation, whether in art, design, fashion and textiles, architecture and interiors. Pattern has enjoyed an undeniable cultural resurgence of late, where decoration has made a joyful return to the private and public domain alike through such things as wallpaper, printed fashion fabrics by Pucci or Jonathan Saunders, or the recent re-evaluation of period London Underground seat upholstery. Pattern is now a fundamental of contemporary life.
Technology has also provided an intriguing new way for the field to evolve and innovate, enabling decoration and ornamentation, whether from historical sources to more contemporary fixations to be appreciated and communicated for the digital age. But however much the computer may serve us a convenient tool for creation, it is the inspired, imaginative and controlled hand of the artist or designer that will spawn real inventiveness and acuity. And Kapitza do just that.
Organic absolutely emphasizes Kapitza’s continuing love for pattern art and creation through chance and controlled randomness. It is a thorough and dynamic body of work, which pushes into fresh creative territory and provides new, original insights for font software and design.
This is the exciting new visual language that is Organic.'