Beyond the boundaries of graphics
Artwork inspired by the paintings of Georges Braque, the co-founder of cubism. It was made entirely freehand with 1,149,954 paths. The decomposed shape of the guitar forms the number 3, while the number “14” is engraved on the back of the music score. This work in appearance is an homage to cubism, but in substance it is a tribute to metaphysics because, having no constraints of size, it transcends the concept of uniqueness and immutability.
We use vector technology where 99% of graphic designers would use raster technology. We want a quality not constrained by image size, and we want to grant our clients visual contents that tend to multiple declinations. Works unconstrained by issues of resolution, color, or file saving modes.
Here, among these works, the true essence of 14.3 lies. Here you can really appreciate what it means for us to have transferred in the wine field, years of knowledge gained in other areas.
Everyone knew it was impossible, until a fool who didn’t know came along and did it
Tribute to the engraving technique for the exclusive use of lines/dots and the color black to create light and shadow thus giving three-dimensionality to the object. The same technique was also used for the other bunch of grapes, designed for an overtly more commercial use.
A work with a more exquisitely pictorial and figurative trend, it represents a good example of the advantages of a vector work. Designed to decorate a wine label, it transcends its boundaries to be able to decorate virtually any object the winery desires. The image does not need to be photographed or contoured, there are no resolution or color issues, and it can be affixed to any background. Its “ease of use” is inversely proportional to the resilience in creating it.
Reproduction of the propeller and part of the engine of an early 20th century biplane. Identical in technique to the engraving of grape bunches, it represents another magnificent example of monochrome vector art.