CRTYMx @ Nick Misani

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CRTYMx @ Nick Misani

Nicholas Misani (aka Nick Misani), diseñador y letrista italiano en NYC.

Nick Misani es diseñador freelance y letrista con pasión por las ornamentas y letras a medida. Estamos terminando casi nuestro tema del mes lettering, y hoy, le toca a Nick protagonizar nuestra sección CRTYMx; donde hablamos sobre creativos increíbles.

Nacido en una familia de diseñadores de joyas en Milán, Italia, comenzó su formación formal estudiando arquitectura y diseño industrial. Luego de terminar sus estudios de arquitectura y diseño en el Liceo Artístico Bruno Munari en Crema, Italia, vivió un tiempo en Japón.

Luego de este período, se traslada a Nueva York obteniendo un MFA en Diseño de Comunicaciones del Pratt Institute. Antes de dedicarse al diseño freelance, trabajó en Mucca Design, Penguin Random House y en Louise Fili Ltd.

Fuera del diseño, le apasiona el arte decorativo, artesanías antiguas y los interiores modernos. Recientemente inició un proyecto llamado Fauxsaics. Este proyecto por pasión, consiste en una serie de ilustraciones tipo mosaico inspiradas en sus viajes, que desde que inició, ha presentado en diferentes sitios de diseño y blogs.

Algunos de sus clientes son Target, PepsiCo, The Village Voice, Airbnb, Knopf, Penguin Random House, BBDO, Vanity Fair, Pratt Institute entre otros.

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I started @fauxsaics because I wanted a meditative, repetitive after-work activity to relax me and allow me to fantasize about traveling. I also wanted to find a way to merge my love for interiors, decorative arts, and typography. I didn’t imagine it would grow as it did and take me where it has. I’m so thrilled and grateful that Fauxsaics has just won awards from both @communicationarts and @howbrand and has gotten me nominated for the @shortyawards (which, I must admit, I had never heard of—but hey, RuPaul is also a nominee, so call me chuffed) I might or might not bug you for a vote later on, since I hate asking for things like this. I’m super grateful for your support, encouragement, but especially your patience! I know the fauxsaics class has taken me WAY longer than originally anticipated, but I’m excited to be making real headway. The script for the whole thing is done, now I’m starting on the filming and editing ❤️ in the meantime, here’s my #artnouveau fauxsaic for #Paris in a different color way!

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I was so excited when @society6 asked me to create the maiden cover to their newly-redesigned Art Quarterly! From the beginning of my fauxsaics series, what made this project fun for me was the opportunity to explore different tiling patterns and flooring types with each illustration, and for this one, I chose some Rococo-inspired flourishes around the type (which I had been meaning to play around with for a while) and a geometric radial design for the background. I saw tiled in a similar pattern here in New York City and though it might look awesome as a mosaic. A big thank you to Society6 for giving me pretty much free reign on this! Swipe right for a detail shot and to see it on the actual magazine.

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I was asked to come up with an “ugly” word to letter for inclusion an upcoming lettering book. Of course, ugliness is totally subjective and no other guidelines were given, so I chose the word “gruel,” which is an ugly word both phonetically and historically. It conjures up images of dingy Victorian workhouses and hungry orphans in Dickensian novels. I love packaging design from that time because regardless of what the product was—from rat poison to talcum powder (which could probably also double as rat poison, since everything had arsenic in it in those days)—the package was always incredibly ornate and decorated. They were masters of making all things, including ugly ones, look beautiful.

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I’ve always been such a fan of pattern—textiles, wallpaper, you name it, I love it—so when I decided I would update my Art Deco Lettering workbook, I knew I absolutely needed to include sections on the construction of Deco patterns and ornaments. The workshops will focus on lettering, but the limited-edition workbooks you take home with you are filled with original border, pattern, and ornament ideas (like the floral one you see here, which has a hexagonal tile structure), so they’ll be super useful as you continue to add some Jazz-age glamour into your work ✨ ✨ ✨! Register for my Austin, LA, San Diego, New Orleans, and Albany workshops via link in bio. Boston, NYC, Chicago, KCMO… you’re next, so sit tight.

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After about 10 months from my last post, I’m thinking of starting my Etymology project up again. It’s a cross-disciplinary collab between myself and my linguist and etymology-obsessed beau @tedpal (who writes the captions). We did “baleful” a little under a year ago: The word BALEFUL breaks down into bealu and full. Bealu, which comes from Common Germanic, is a word with many negative faces: “full of malign, deadly, or noxious influence; pernicious, destructive, noxious, malignant.” The #OED defines ‘bale’ as "evil, especially considered in its active operation." It's not just evil in definition, it's evil in action. From this early definition, bale took on additional meanings, a sort of semantic wandering that most words undergo throughout time. From active evil, bale also became passive evil: mental suffering, torment, and grief. Eventually, one could even prepare and bring about bale. In working, baking, and brewing bale, one made mischief and prepared woe. As with the phrase "good and evil," we also find an antonymic pairing with bale: most common was ”bliss and bale;” less common, "boot and bale." From Icelandic, though now obsolete, we English used to say, "When boot is highest, bale is nighest."

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Nick Misani, web oficial
Instagram: @nickmisani